"A man does what he must - in spite of personal consequences, in spite of obstacles and dangers and pressures - and that is the basis of all morality." - - John F. Kennedy Kennedy, of course, was correct. In this film we get to see a rare presentation, full to the brim with women with more than enough courage to impress even President Kennedy. Of course, that is the immediate thing in the back of everyone's mind who watches this film. In fact, there is so much courage to go around it's hard to decide just who is the most important character in the film. I finally had to decide it's a team of courageous women focused on truth and perhaps, ultimately, change.
This story is primarily set in the early 1960's in the town of Jackson, Mississippi. It deals with the subject of the truly bad treatment that black servants received from their white employers and is lightly framed by the growing civil rights movement.
The two most prominent characters - protagonists - as we near the end of the film have been Emma Stone as Eugenia 'Skeeter' Phelan and Viola Davis as Aibileen Clark. It's those two characters who are the genesis of everything that happens here. The journey they embark on together, from the staid, old fashioned society they came up in toward a brighter future is the stuff of greatness. Their experiences and the resultant emotions carry us easily along through their trials and tribulations as they work through the story.
The greatest thing about the film is watching these two women do what they do best: act. Both Davis and Stone are exceptional actresses and have plenty of room here to exercise their craft. There is not a false note from them in the entire film. Davis, who has already garnered a lot of notice from her previous films, is in perfect form as the overworked and much under-appreciated maid. Stone, who has shown great promise as an actress in lighter roles, certainly makes a terrific showing as a great dramatic actress. Both of these women are fascinating to watch; their styles and presentations so different yet so unfailingly on target. The film is more than worth watching for them alone, but we have many more fine performances here.
The primary antagonist is wonderfully portrayed by Bryce Dallas Howard as Hilly Holbrook. Howard is perfect in this difficult role of the saccharine, insincere, self-important, lying troublemaker who serves as a focal representation of all that was bad in their society. She is just as wonderful to watch work as the others and gives a comic edge to a performance that could have gone over the edge into ridiculousness had it not been handled as well.
There is also a wonderful performance from Octavia Spencer as Howard's maid Minny Jackson. Her performance shows surprising depth and is worthy of all the praise that could be heaped upon her.
It's hard to give appropriate thanks to all of those in the film that gave so much of themselves to make this film as great as it is. There is Allison Janney as Charlotte Phelan, Stone's mother. She is great in showing a transformation in a character. Then there was a small role played by the great Cicely Tyson as Constantine Jefferson, the maid that raised Stone's character and served as her character's moral compass. Her performance is understated and quite touching. Another small but excellent portrayal was from Sissy Spacek as Missus Walters, who is Howard's mother. All of these actresses ad flesh to the film in wonderfully realistic ways.
But perhaps the most unusual and very entertaining part was played by Jessica Chastain as Celia Foote, a very ditzy, white trash blond who marries up and is trying to make inroads into the tight social circles of the city. But her portrayal is also infused with warmth and genuine charm, lightening the story and providing an excellent counterpoint to Howard's character. Her performance, although quite different from the other performers, is every bit as good and you can't help but love her by the end of the film.
Considering how entertaining the film was, one must certainly praise those who sculpted this fine film. The director, Tate Taylor, who also scripted from Kathryn Stockett's novel, created some excellent material here and is just as deserving of praise as the actors/actresses. The portrayal of the intricacies and hypocrisy in the world around Stockett is brought to the screen with intelligence and compassion.
Underscoring the great performances are the technical aspects of the film; cinematography, score, editing, sets, costuming, lighting, makeup, everything, is wonderfully done and presents an overall visual and aural portrait of the mid-twentieth century south.
This is definitely a film worth seeing, and although there are a few light moments, it's just as adamantly a drama. It should not be overlooked at Oscar time. Thank you everyone for giving me a great end to a wearisome week.
By Bruce L. Jones http://webpages.charter.net/bruce.jones1/
This story is primarily set in the early 1960's in the town of Jackson, Mississippi. It deals with the subject of the truly bad treatment that black servants received from their white employers and is lightly framed by the growing civil rights movement.
The two most prominent characters - protagonists - as we near the end of the film have been Emma Stone as Eugenia 'Skeeter' Phelan and Viola Davis as Aibileen Clark. It's those two characters who are the genesis of everything that happens here. The journey they embark on together, from the staid, old fashioned society they came up in toward a brighter future is the stuff of greatness. Their experiences and the resultant emotions carry us easily along through their trials and tribulations as they work through the story.
The greatest thing about the film is watching these two women do what they do best: act. Both Davis and Stone are exceptional actresses and have plenty of room here to exercise their craft. There is not a false note from them in the entire film. Davis, who has already garnered a lot of notice from her previous films, is in perfect form as the overworked and much under-appreciated maid. Stone, who has shown great promise as an actress in lighter roles, certainly makes a terrific showing as a great dramatic actress. Both of these women are fascinating to watch; their styles and presentations so different yet so unfailingly on target. The film is more than worth watching for them alone, but we have many more fine performances here.
The primary antagonist is wonderfully portrayed by Bryce Dallas Howard as Hilly Holbrook. Howard is perfect in this difficult role of the saccharine, insincere, self-important, lying troublemaker who serves as a focal representation of all that was bad in their society. She is just as wonderful to watch work as the others and gives a comic edge to a performance that could have gone over the edge into ridiculousness had it not been handled as well.
There is also a wonderful performance from Octavia Spencer as Howard's maid Minny Jackson. Her performance shows surprising depth and is worthy of all the praise that could be heaped upon her.
It's hard to give appropriate thanks to all of those in the film that gave so much of themselves to make this film as great as it is. There is Allison Janney as Charlotte Phelan, Stone's mother. She is great in showing a transformation in a character. Then there was a small role played by the great Cicely Tyson as Constantine Jefferson, the maid that raised Stone's character and served as her character's moral compass. Her performance is understated and quite touching. Another small but excellent portrayal was from Sissy Spacek as Missus Walters, who is Howard's mother. All of these actresses ad flesh to the film in wonderfully realistic ways.
But perhaps the most unusual and very entertaining part was played by Jessica Chastain as Celia Foote, a very ditzy, white trash blond who marries up and is trying to make inroads into the tight social circles of the city. But her portrayal is also infused with warmth and genuine charm, lightening the story and providing an excellent counterpoint to Howard's character. Her performance, although quite different from the other performers, is every bit as good and you can't help but love her by the end of the film.
Considering how entertaining the film was, one must certainly praise those who sculpted this fine film. The director, Tate Taylor, who also scripted from Kathryn Stockett's novel, created some excellent material here and is just as deserving of praise as the actors/actresses. The portrayal of the intricacies and hypocrisy in the world around Stockett is brought to the screen with intelligence and compassion.
Underscoring the great performances are the technical aspects of the film; cinematography, score, editing, sets, costuming, lighting, makeup, everything, is wonderfully done and presents an overall visual and aural portrait of the mid-twentieth century south.
This is definitely a film worth seeing, and although there are a few light moments, it's just as adamantly a drama. It should not be overlooked at Oscar time. Thank you everyone for giving me a great end to a wearisome week.
By Bruce L. Jones http://webpages.charter.net/bruce.jones1/