《The Help》是一部由凯瑟琳·斯托克特导演的美国剧情片，根据凯瑟琳·斯托克特的同名

小说改编。这部电影讲述了上世纪60年代南方小镇上的种族歧视和黑人女佣们的生
活故事。它获得了广泛的赞誉和多项奖项，是一部值得一看的电影。
首先，这部电影的剧情引人入胜，让观众深深地感受到了那个时代的种族歧视和黑
人女佣们的痛苦。它展现了黑人女佣们在白人家庭中的艰辛生活，以及他们为了争
取平等权利所做出的勇敢抗争。同时，电影也展现了白人女性们的觉醒和改变，让人
感受到种族和谐的重要性。
其次，电影的演员表现也非常出色。艾玛·斯通、维奥拉·戴维斯和奥克塔维亚·斯宾瑟
等一线演员的精彩表演，让人们更加深入地了解了角色的内心世界。他们的演技让
人印象深刻，让观众更加投入到故事中去。
此外，电影也通过细腻的镜头和精美的场景，再现了上世纪60年代的南方小镇风情。
观众可以感受到那个时代的氛围和生活方式，让人仿佛置身于电影的世界中。
最后，我强烈推荐大家在HelpWriting.net订购这部电影的DVD。它不仅可以让您在家中
舒适地欣赏这部电影，还可以让您随时回顾和分享给朋友。HelpWriting.net提供方便快
捷的订购服务，让您可以轻松拥有这部精彩的电影。
总的来说，《The Help》是一部感人至深的电影，它让人们反思种族歧视和平等权利的重
要性。我希望更多的人可以通过HelpWriting.net订购这部电影，一起感受它带来的感动
和启发。
At
the
end
of
The
Help,
a
film
about
prejudice
and
racism
in
the
Deep
South
of
the
US
during
the
60’s,
my
wife
was
bawling
her
eyes
out.
Not
because
the
film
is
in
any
way
so
terrible
as
to
elicit
tears
of
hatred
towards
the
final
product,
but
because
the
story
itself
is
so
moving,
and
the
final
scenes
so
heartbreaking,
that
if
I
give
no
other
recommendation
for
which
you’ll
sit
and
watch
this
movie,
then
you
are
beyond
help.
Normally,
as
a
viewer,
films
with
themes
like
The
Help
both
anger
and
frustrate me, and this film was no different. The injustices of the time and place this film is set –
1960’s Mississippi – and the people involved, is so horrendous to us now that it’s almost impossible
to
comprehend just how vile society became to our fellow humans. The Help is based on a book – a
very successful book – by Kathryn Stockett and has been transformed into a film by Stockett’s long-
time childhood friend Tate Taylor, whose last film was the relatively low-budget Pretty Ugly People.
Stockett’s novel spent a deal of time as the number 1 book on the New York Times Bestseller list, so
to
see the film among this years Oscar nominees for Best Picture would have to be reward enough for
Taylor and the cast; a film tackling the issues spruiked in The Help could have resulted in a film with
a
different flavoring, yet the end result seems more a love-letter to the time and the people than any
kind of indictment. En bonus sur le Blue-Ray, une rencontre entre des femmes ayant vécu ce que
Minny et Aibileen ont vécu, et Octavia Spencer et Tate Taylor. Une interview qui nous rappelle que
cette époque n'est vraiment pas si lointaine que ça. Sorry, our site is offline until further notice. We
appreciate your visiting and wish you all the best. Si après ce film, vous n'avez pas envie de poulet
frit, de cornbread, ou de bonne bouffe americaine bien roborative, c'est que vous n'êtes pas humain
@DantheMan610 For some reason Viola Davis reminds me of Alfre Woodard…. I'm not sure why,
they don't even look the same. I think Davis will definitely snag an Oscar at some point in her
career, as long as she doesn't keep appearing in tiny roles like she did in Extremely Loud &
Incredibly Close…. Thème Awesome Inc.. Images de thèmes de Jason Morrow. Fourni par Blogger.

I
remember going into this movie with a bit more skepticism and distance because I had waited so long
to
see it than when I first heard about it. I know it was, and continues to be scrutinized as much for the
book as the adaptation, those who were awarded and those who were not, and historically speaking
there is always a little fire in every film about race, racism and identity discovery. This is definitely a
character film first, then story, then plot – the way it should be. The roles were brilliantly cast.
Actor, writer-director Tate Taylor is also responsible for Pretty Ugly People and I recommend that
one. I'm still not a fan of Jessica Chastain. I think a better film is waiting for her. She telegraphed
her
performance in this film, often always in the emotion instead of finding it through the scenes the
way
Meryl Streep lives and breathes in her films, first present then in discovery – she's wide open, raw,
dangerously close to burning up then fading away – the delight of living truthfully in imaginary
circumstances, again the way it should be. I want to like Chastain the way I want to like Jesse
Eisenberg (see Holly Rollers, also The Social Network, Squid and the Whale). I caught her in Take
Shelter with Michael Shannon and it was just such a disappointment. I reviewed it, please check it
out at Above The Line. Can I include the link here? ;http://rorydean.wordpress.com/2012/03/27/take-
shelter-2011/ Fraîchement sortie de l'université et ayant décroché un petit job dans le journal local,
Skeeter rejoint ses amies qu'elle n'a plus vue depuis plusieures années. C'est là qu'elle se heurte à
cette vision de jeunes femmes aisées d'une superficialité exacerbée, la palme toute catégorie
confondue revenant à Hilly Holbrook, responsable d'une collecte de fonds pour les pauvres enfants
d'Afrique, mais traitant sa bonne comme une moins que rien. Un regard suffit parfois à exprimer
beaucoup de chose. Hmmm. 1.85:1 isn't as good as 1.86:1 as far as aspect ratios go. @Top 10 Films
Dan It's worth a look my friend!! let me know what you think when you get to see it!! My fave
aspect ratio is 2.77:1. @FilmsWith_T No worries about the link, Terrence, glad to be of service! It
was
good to see this film pick up at the Oscars – I only wish Viola Davis had won for her role, but like
you, I'm glad at least one of them won something. Thanks for stopping by! All submitted content
remains copyright its original copyright holder | DMCA Copyright Violation The Help strikes me
as
a
kind of low-fi Forrest Gump-styled narrative poem, with an almost whimsical feel to it all, as if the
events described belong inside a fairy story at times. The occasional twinges of truth and bitter
reality seem framed within the motif of a heightened history, a kind of skewed-perspective of
memory. This is a film to be savored, the kind of film you’d liken to a Shawshank Redemption or
Dances With Wolves: it’s moving, it’s grounded in reality and yet seems almost a fantasy, lit with the
subtle hue and glow of that bygone era we’ve seen so often. This isn’t fast-food cinema. It’s not junk
film-making to be watched and dispatched with alacrity to the bargain bin of cultural relics. The
Help
is
a
moving,
often delightful, always amazing film experience. Whatever you do, don’t miss it. Installée bien au
(quasi) frais dans mon salon avec une bouillote chaude et poilue nommée Lucy contre les jambes, je
démarrais le film et me sentais bien. J'avais envie d'un bon film, drôle mais aussi touchant. The Help
me paru un bon choix, non pas que je prête grande attention aux récompenses cinématographiques
mais la bande-annonce m'avait donnée envie de le voir. Tout à fait d'accord! J'ai lu le livre après
avoir vu le film, et c'est vrai que le film a plutôt bien respecté l'oeuvre originale, j'ai eu le même
frisson à la fin du livre comme à la fin du film. Et j'ai réussi à dire "livre" et "film" 3 fois en une seule
phrase, trop forte je suis! Un joyeux bordel et un véritable mic-mac de ce que j'aime (ou pas), avec
photo, jeux débiles, sondages navrants, bref, ma vie quoi ;) N'hésitez pas à laisser un p'tit mot! The
main story of this film, however, doesn’t belong to Skeeter or her mother – heck, it doesn’t even
belong to Howard’s odious Hilly. No, The Help reaches heights of greatness thanks to the
performances of two people: Octavia Spencer and Viola Davis. Portraying two housemaids, Spencer
and
Davis are the heart and soul of this film, and without their extraordinary performances, this film
would be a blip on the radar to disappear faster than it arrived. Davis is the particular standout for
me, as Aibileen, the downtrodden-yet-pure-of-soul woman working to raise one white woman’s
child, while still mourning the recent loss of her own only child. As Aibileen, Davis channels her
very soul into the role, giving a heartbreaking performance that is both moving and destroying. Key
among the factors of her character is her relationship with the young girl she’s raising – since the
girls mother, Elizabeth Leefolt (Ahna O’Reilly) is more interested in being seen to be a parent than
actually being a mother, it’s left to Aibileen to instill values and a sense of self worth into the
youngster. The young girl, played by twins Emma and Eleanor Henry, sees Aibileen as her “true
mother”, to quote from the film, which is truly heartbreaking to see. Minny, played by Olivia
Spencer, is a sharp-of-tongue and somewhat bitter friend of Aibileens, beaten by an abusive husband,
and
one-time maid to Hilly, who ends up working for social outcast Celia. Spencer is terrific in the part,
delivering some wonderful dialogue and sparkling off the screen; her friendship with Aibileen, as
well as a burgeoning motherly role towards Celia, are twin plot arcs that are just beautiful to watch.
Both women are superb their roles, and equally deserving of the praise heaped upon them. La
reconstitution des années '60 est évidemment magnifique, et on ne peut s'empêcher de penser à Mad
Men et au personnage de Betty Drapper tant le stéréotype de la femme à la maison qui devra
toujours être belle et tirée à quatre épingles est le même ici. C'est Skeeter qui fait figure d'ovni à ne
vouloir qu'une chose: faire carrière au lieu de faire des bébés. Website text and design is copyright
2024 Alpha Coders. Jesse Eisenberg I have other problems with, so don't get me started on him!
Fraîchement
sortie
de
l'université
et
ayant
décroché
un
petit
job
dans
le
journal
local,
Skeeter
rejoint
ses
amies
qu'elle
n'a
plus
vue
depuis
plusieures
années.
C'est
là
qu'elle
se
heurte
à
cette
vision
de
jeunes
femmes aisées
d'une
superficialité
exacerbée,
la
palme
toute
catégorie
confondue
revenant
à
Hilly
Holbrook,
responsable
d'une
collecte
de
fonds
pour
les
pauvres
enfants
d'Afrique,
mais
traitant
sa
bonne
comme
une
moins
que
rien.
@rtm
Ruth,
I
too
was
disappointed
that
Davis
wasn't
given
the
gong
for
this,
I
actually
thought
she
did
a
better
job
that
even
Octavia
Spencer.
Still,
at
least
somebody
won
something
for
this
film,
even
if
it
never
snuck
in
for
Best
Picture.
Hopefully
that
attention
gave
it
a
larger
audience!
10/
10?
That
is
a
major
score
there
Rodney.
I
have
had
this
to
watch
for
ages.
The
only
reason
I
don't
is
the
143
min
running
time…
not
really
the
best
reason
not
to
watch
a
film
huh?
But
there
is
no
denying
the
score
here.
I
will
get
it
done
now,
I
promise!!
Bryce
Dallas
Howard,
magnifique
dans
son
rôle
de
biatch,
Octavia
Spencer
en
cuisinière
hors
pair
au
caractère
bien
trempé
et...
Sissy
Spacek
(mais
si,
Carrie!!!)
au
milieu!

The
main
story
of
this
film,
however,
doesn’t
belong
to
Skeeter
or
her
mother
–
heck,
it
doesn’t
even
belong
to
Howard’s
odious
Hilly.
No,
The
Help
reaches
heights
of
greatness
thanks
to
the
performances
of
two
people:
Octavia
Spencer
and
Viola
Davis.
Portraying
two
housemaids,
Spencer
and
Davis
are
the
heart
and
soul
of
this
film,
and
without
their
extraordinary
performances,
this
film
would
be
a
blip
on
the
radar
to
disappear
faster
than
it
arrived.
Davis
is
the
particular
standout
for
me,
as
Aibileen,
the
downtrodden-
yet-
pure-
of-
soul
woman
working
to
raise
one
white
woman’s
child,
while
still
mourning
the
recent
loss
of
her
own
only
child.
As
Aibileen,
Davis
channels her very soul into the role, giving a heartbreaking performance that is both moving and
destroying. Key among the factors of her character is her relationship with the young girl she’s
raising – since the girls mother, Elizabeth Leefolt (Ahna O’Reilly) is more interested in being seen to
be
a
parent than actually being a mother, it’s left to Aibileen to instill values and a sense of self worth into
the
youngster. The young girl, played by twins Emma and Eleanor Henry, sees Aibileen as her “true
mother”, to quote from the film, which is truly heartbreaking to see. Minny, played by Olivia
Spencer, is a sharp-of-tongue and somewhat bitter friend of Aibileens, beaten by an abusive husband,
and
one-time maid to Hilly, who ends up working for social outcast Celia. Spencer is terrific in the part,
delivering some wonderful dialogue and sparkling off the screen; her friendship with Aibileen, as
well as a burgeoning motherly role towards Celia, are twin plot arcs that are just beautiful to watch.
Both women are superb their roles, and equally deserving of the praise heaped upon them. “Skeeter”
Phelan (Emma Stone) has just graduated from the University of Mississippi, and returns home to
Jackson to find her family’s beloved maid Constantine (Cicely Tyson) has left. After finding her old
friends have all become married and are in the process of having children, Skeeter finds work as a
self-help columnist for the local newspaper, although her true calling is to write a book. Searching for
a
subject, she decides to secretly write about the life of the local maids – all black women working for
less than minimum wage – from their point of view, in order to provoke a reaction from the white
community. In 60’s Mississippi, to provoke civil unrest in such a way was an offense punishable by
imprisonment. Two local maids, Aibileen (Viola Davis) and Minny (Octavia Spencer) are initially
reluctant to give their stories to Skeeter, although after a series of racially insensitive events they
soon decide to make a change in their community. One of Skeeter’s former friends, Hilly (Bryce
Dallas
Howard) is the leader of her social circle, and uses her overbearing white-trash personality to bully
those around her into doing what she wants, including ostracizing another young wife, Celia (Jessica
Chastain) because Celia’s new husband used to be Hilly’s old boyfriend. When Minny commits a
major
offense to Hilly (and I won’t spoil the surprise, but it’s awesome!) things go from bad to worse, as
the
secret attempt to write a book from the Negro perspective starts to gain momentum and popularity.
The
Help
- La Couleur des Sentiments en français - est l'adaptation du livre du même nom de Kathryn Stockett.
Le synopsis est assez simple: nous sommes dans les années '60, en plein coeur du Mississippi. Dans
la
ville de Jackson, il est normal d'avoir sa bonne attitrée. Une bonne-à-tout-faire qui sera bien sûr afro-
américaine et qu'il sera de bon ton de sous-payer, d'envoyer dehors faire ses besoins car utiliser les
mêmes toilettes qu'elle risque de vous rendre malade, et de traiter comme une moins que rien. Ca ne
choque personne. Ou presque. Thème Awesome Inc.. Images de thèmes de Jason Morrow. Fourni par
Blogger. Great review. Glad you enjoyed the movie so well. We see Chastain's performance a little
differently (I found it rather moving and sad…well performed), but all in all we agree on this film!
La reconstitution des années '60 est évidemment magnifique, et on ne peut s'empêcher de penser à
Mad Men et au personnage de Betty Drapper tant le stéréotype de la femme à la maison qui devra
toujours être belle et tirée à quatre épingles est le même ici. C'est Skeeter qui fait figure d'ovni à ne
vouloir qu'une chose: faire carrière au lieu de faire des bébés. Don't tell anyone. @DantheMan610
For some reason Viola Davis reminds me of Alfre Woodard…. I'm not sure why, they don't even look
the
same. I think Davis will definitely snag an Oscar at some point in her career, as long as she doesn't
keep appearing in tiny roles like she did in Extremely Loud & Incredibly Close…. Lentement mais
sûrement, Skeeter va oser braver les interdits de l'époque, et surtout de l'Etat du Mississippi pour
mettre sur pied un projet interdit: écrire un livre sur la vie de ces petites mains noires travaillant à
l'ombre de ces riches blancs. Des amitiés naîtront, amitiés qui ne peuvent pas être en 1960, des
rencontres se feront, et des scandales éclateront. I haven't seen enough of Chastain overall to really
get
to
know her as an actress – I think this about the first (and only) film I've seen her in, so I don't know if
she's versatile (or not) enough to make me really want to watch more of her. Some actors can really
morph into their roles and inhabit the characters they portray, and other actors simply "act" the way
they've been told to by the director, and I think in this case I'd be pointing to the latter rather than
the
former. It's just a small thing – and don't get me wrong, I think her "acting" here was very very good
–
I
just didn't get into her performance like I did with Octavia Spencer's, for example. At the end of The
Help, a film about prejudice and racism in the Deep South of the US during the 60’s, my wife was
bawling her eyes out. Not because the film is in any way so terrible as to elicit tears of hatred
towards the final product, but because the story itself is so moving, and the final scenes so
heartbreaking, that if I give no other recommendation for which you’ll sit and watch this movie,
then you are beyond help. Normally, as a viewer, films with themes like The Help both anger and
frustrate me, and this film was no different. The injustices of the time and place this film is set –
1960’s Mississippi – and the people involved, is so horrendous to us now that it’s almost impossible
to
comprehend just how vile society became to our fellow humans. The Help is based on a book – a
very successful book – by Kathryn Stockett and has been transformed into a film by Stockett’s long-
time childhood friend Tate Taylor, whose last film was the relatively low-budget Pretty Ugly People.
Stockett’s novel spent a deal of time as the number 1 book on the New York Times Bestseller list, so
to
see the film among this years Oscar nominees for Best Picture would have to be reward enough for
Taylor and the cast; a film tackling the issues spruiked in The Help could have resulted in a film with
a
different flavoring, yet the end result seems more a love-letter to the time and the people than any
kind of indictment. @rorydean I haven't seen Pretty Ugly People yet, Rory, but it's one I'm
definitely checking out if I can find a copy at my local DVD store. Heard a lot about it given its
award success but haven't seen it yet. After this glowing recommendation I better add it to my list!
And mate, you're always welcome to link here; my door is always open! Wait, what was this film
rated? If it was rated +17, i may let myself be tempted. An aspiring author during the civil rights
movement of the 1960s decides to write a book detailing the African American maids' point of view
on
the
white
families for which they work, and the hardships they go through on a daily basis. @FilmsWith_T
No worries about the link, Terrence, glad to be of service! It was good to see this film pick up at the
Oscars – I only wish Viola Davis had won for her role, but like you, I'm glad at least one of them
won
something. Thanks for stopping by! We Really Appreciate It When You Share What You've Found!:
Skeeter
est une jeune femme qui a de l'ambition. Elle ne veut pas, à contrario de ses amies embourgeoisées,
rester à la maison à pondre des gamins alors qu'elle sort elle-même à peine de l'enfance. Elle veut
devenir journaliste, ou écrivain. Ou les deux. Elle possède un grand sens moral et n'a pas sa langue
en
poche, ce qui à l'époque est plutôt un fléau pour une jeune fille bien. Elle se trouve de plus moche
avec ses cheveux sauvages alors qu'il faudrait avoir dompté sa tignasse en des chignons compliqués
ou des permanentes laquées à la limite de la plastification afin de pouvoir mettre la main sur un bon
parti.
Jesse
Eisenberg
I
have
other
problems
with,
so
don't
get
me
started
on
him!
Hmmm.
1.85:1
isn't
as
good
as
1.86:1
as
far
as
aspect
ratios
go.
Sorry,
our
site
is
offline
until
further
notice.
We
appreciate
your
visiting
and
wish
you
all
the
best.
The
main
story
of
this
film,
however,
doesn’t
belong
to
Skeeter
or
her
mother
–
heck,
it
doesn’t
even
belong
to
Howard’s
odious
Hilly.
No,
The
Help
reaches
heights
of
greatness
thanks
to
the
performances
of
two
people:
Octavia
Spencer
and
Viola
Davis.
Portraying
two
housemaids,
Spencer
and
Davis
are
the
heart
and
soul
of
this
film,
and
without
their
extraordinary
performances,
this
film
would
be
a
blip
on
the
radar
to
disappear
faster
than
it
arrived.
Davis
is
the
particular
standout
for
me,
as
Aibileen,
the
downtrodden-
yet-
pure-
of-
soul
woman
working
to
raise
one
white
woman’s
child,
while
still
mourning
the
recent
loss
of
her
own
only
child.
As
Aibileen,
Davis
channels
her
very
soul
into
the
role,
giving
a
heartbreaking
performance
that
is
both
moving
and
destroying.
Key
among
the
factors
of
her
character
is
her
relationship
with
the
young
girl
she’s
raising
–
since
the
girls
mother,
Elizabeth
Leefolt
(Ahna
O’Reilly)
is
more
interested
in
being
seen
to
be
a
parent
than
actually
being
a
mother,
it’s
left
to
Aibileen
to
instill
values
and
a
sense
of
self
worth
into
the
youngster.
The
young
girl,
played
by
twins
Emma
and
Eleanor
Henry,
sees
Aibileen
as
her
“true
mother”,
to
quote
from
the
film,
which
is
truly
heartbreaking
to
see.
Minny,
played
by
Olivia
Spencer,
is
a
sharp-
of-
tongue
and
somewhat
bitter
friend
of
Aibileens,
beaten
by
an
abusive
husband,
and
one-
time
maid
to
Hilly,
who
ends
up
working
for
social
outcast
Celia.
Spencer
is
terrific
in
the
part,
delivering
some
wonderful
dialogue
and
sparkling
off
the
screen;
her
friendship
with
Aibileen,
as
well
as
a
burgeoning
motherly
role
towards
Celia,
are
twin
plot
arcs
that
are
just
beautiful
to
watch.
Both
women
are
superb
their
roles,
and
equally
deserving
of
the
praise
heaped
upon
them.
Un
joyeux
bordel
et
un
véritable
mic-
mac
de
ce
que
j'aime
(ou
pas),
avec
photo,
jeux
débiles,
sondages
navrants,
bref,
ma
vie
quoi
;)
N'hésitez
pas
à
laisser
un
p'tit
mot!
Copyright
©
Fernby
Films.
All
rights
reserved.
|
CoverNews
by
AF
themes.
“Skeeter”
Phelan
(Emma
Stone)
has
just
graduated
from
the
University
of
Mississippi,
and
returns
home
to
Jackson
to
find
her
family’s
beloved
maid
Constantine
(Cicely
Tyson)
has
left.
After
finding
her
old
friends
have
all
become
married
and
are
in
the
process
of
having
children,
Skeeter
finds
work
as
a
self-
help
columnist
for
the
local
newspaper,
although
her
true
calling
is
to
write
a
book.
Searching
for
a
subject,
she
decides
to
secretly
write
about
the
life
of
the
local
maids
–
all
black
women
working
for
less
than
minimum
wage
–
from
their
point
of
view,
in
order
to
provoke
a
reaction
from
the
white
community.
In
60’s
Mississippi,
to
provoke
civil
unrest
in
such
a
way
was
an
offense
punishable
by
imprisonment.
Two
local
maids,
Aibileen
(Viola
Davis)
and
Minny
(Octavia
Spencer)
are
initially
reluctant
to
give
their
stories
to
Skeeter,
although
after
a
series
of
racially
insensitive
events
they
soon
decide
to
make
a
change
in
their
community.
One
of
Skeeter’s
former
friends,
Hilly
(Bryce
Dallas
Howard)
is
the
leader
of
her
social
circle,
and
uses
her
overbearing
white-
trash
personality
to
bully
those
around
her
into
doing
what
she
wants,
including
ostracizing
another
young
wife,
Celia
(Jessica
Chastain)
because
Celia’s
new
husband
used
to
be
Hilly’s
old
boyfriend.
When
Minny
commits
a
major
offense
to
Hilly
(and
I
won’t
spoil
the
surprise,
but
it’s
awesome!)
things
go
from
bad
to
worse,
as
the
secret
attempt
to
write
a
book
from
the
Negro
perspective
starts
to
gain
momentum
and
popularity.

Great
review.
Glad
you
enjoyed
the
movie
so
well.
We
see
Chastain's
performance
a
little
differently
(I
found
it
rather
moving
and
sad…well
performed),
but
all
in
all
we
agree
on
this
film!
I
don’t
profess
to
be
an
expert
on
60’s
US
race
relations,
nor
am
I
familiar
with
racism
in
my
daily
life
in
any
respect,
so
I
approach
my
review
of
this
film
with
a
fairly
unbiased
opinion
on
the
subject
matter.
Of
course,
I’m
familiar
with
racism
in
general,
and
it
goes
without
saying
that
the
majority
of
the
20th
century
saw
a
great
deal
of
change
in
the
treatment
of
minority
groups
within
all
areas
of
Western
society
–
be
it
African
Americans,
American
Indians,
or
our
own
Australian
Aborigines.
The
hotbed
of
race
relations
in
America’s
Deep
South
is
an
issue
I
think
people
still
struggle
with
to
this
day,
and
it’s
a
well
known
fact
that
segments
of
society
in
that
area
are
still
living
the
ideal
that
black
Americans
are
a
lesser
class
of
people
–
this
film
doesn’t
try and modify your thinking to this, nor does it attempt to be controversial with the subject matter
in
the
kind of way you’d expect; no, Tate Taylor’s picture-postcard film seems to embrace the time and
people, portraying them as people instead of caricatures of the era. Bryce Dallas Howard is as close
to
a
traditional villain as this film has, as Hilly, the racist leader of the pack who belittles and emotionally
abuses all those – black or white – she sees as lower standing than herself. Hilly, as a character, is
portrayed as vile and abhorrent, the personification of all that is bad about racism, and yet at the end
of
it
all, her fall from grace (and she does fall) feels more like pity than outright fist-pumping villainy.
Emma
Stone, an actress I’m gradually coming around to in her serious roles (after this and her part in Crazy,
Stupid, Love.) is quite good as Skeeter, and imbues her intellectual writer character with enough
street-smarts not to come off as condescending or self-serving – which would have been a fatal flaw
for
the
film. Skeeter’s cancer-ridden mother, Charlotte, is played to perfection by Alison Janney, and the two
actresses bounce emotions off each other exceptionally well. Les actrices sont bien évidemment plus
qu'à la hauteur. On retrouve dans le rôle de Skeeter la très belle Emma Stone qui réussit à mêler
douceur, éffronterie, révolte et ambition avec brio. Mais son personnage n'est qu'un faire-valoir pour
trois autres actrices incroyables: Viola Davis, qui interprète Aibileen Clark, celle qui sera la première
à
accepter de parler à Skeeter; Octavia Spencer, absolument craquante et époustouflante en Minny
Jackson, la meilleure cuisinière de Jackson, femme forte et de caractère qui doit lutter pour ne pas
dire tout haut ce qu'elle pense tout bas; et Bryce Dallas Howard, effrayante de naturel dans son rôle
de
Hilly
Holbrook. On ne peut pas ne pas parler de Jessica Chastain qui apporte un peu de fraîcheur au film
avec son personnage mélancolique qui cache sa tristesse sous des sourires charmeurs et un
comportement frivole. I enjoyed this one too, so my review is more in line w/ yours, Rodney. I think
Viola
Davis
owned this one, was wishing she'd won the Oscar. I like that there are whimsical elements to an
otherwise emotional and serious film. At the end of The Help, a film about prejudice and racism in
the
Deep
South
of
the
US
during the 60’s, my wife was bawling her eyes out. Not because the film is in any way so terrible as
to
elicit tears of hatred towards the final product, but because the story itself is so moving, and the final
scenes so heartbreaking, that if I give no other recommendation for which you’ll sit and watch this
movie, then you are beyond help. Normally, as a viewer, films with themes like The Help both anger
and
frustrate me, and this film was no different. The injustices of the time and place this film is set –
1960’s Mississippi – and the people involved, is so horrendous to us now that it’s almost impossible
to
comprehend just how vile society became to our fellow humans. The Help is based on a book – a
very
successful book – by Kathryn Stockett and has been transformed into a film by Stockett’s long-time
childhood friend Tate Taylor, whose last film was the relatively low-budget Pretty Ugly People.
Stockett’s novel spent a deal of time as the number 1 book on the New York Times Bestseller list, so
to
see
the
film
among
this
years Oscar nominees for Best Picture would have to be reward enough for Taylor and the cast; a
film
tackling the issues spruiked in The Help could have resulted in a film with a different flavoring, yet
the
end result seems more a love-letter to the time and the people than any kind of indictment. Thank
you
for
the
link! Very kind indeed. Yes, I agree with you on the men's roles. They were unnecessary (oddly
enough). Was really wishing Viola Davis won an Oscar for this, but was real glad to see Octavia win
as
well.
It was so awesome to see Viola's support for her friend at all of the award ceremonies. Bryce Dallas
Howard, magnifique dans son rôle de biatch, Octavia Spencer en cuisinière hors pair au caractère
bien trempé et... Sissy Spacek (mais si, Carrie!!!) au milieu! Btw, @fernby thanks for the link
@DantheMan610 For some reason Viola Davis reminds me of Alfre Woodard…. I'm not sure why,
they
don't
even
look the same. I think Davis will definitely snag an Oscar at some point in her career, as long as she
doesn't keep appearing in tiny roles like she did in Extremely Loud & Incredibly Close…. On the
other
hand, the Oscar nominated performance by Jessica Chastain, as Celia, left me cold. Don’t get me
wrong, Chastain is great in the ditzy, scattershot part of a desperate-to-get-pregnant wife of a
wealthy landowner, but in this instance, I don’t think the part called for an Oscar nod. Had I been
forced to choose a third acting nomination for this film, I’d have slid my pen across to the name of
Bryce Dallas Howard, who delivers one of her best roles yet as Hilly. That being said, all the
performances
here are excellent, although, in a weird twist, it’s the male roles I found hardest to watch. Mike
Vogel, as Celia’s husband, and Chris Lowell, playing Skeeter’s boyfriend Stuart, are the two biggest
male roles in the film, and they’re barely in it. Neither actor is called upon to deliver an extraordinary
performance: in fact, I found both Vogel and Lowell to be quite wooden in what little delivery they
had. The Help has virtually no male roles whatsoever, with the narrative cleverly keeping us focused
on
the
women
of
the
story: one particular scene, in which Minny’s husband returns home to give her a beating, is almost
entirely done off-camera, with Aibileen listening in over the phone. The men in this story appear to
be
of
little
consequence, and although I could have found myself disappointed, I figured that it wasn’t the
intention of the original story to showcase both sexes in this narrative, but purely to discover what
the
women
of
the
time
thought. Fair enough, I reckon. @FilmsWith_T No worries about the link, Terrence, glad to be of
service! It was good to see this film pick up at the Oscars – I only wish Viola Davis had won for her
role,
but
like you, I'm glad at least one of them won something. Thanks for stopping by! Tout à fait d'accord!
J'ai lu le livre après avoir vu le film, et c'est vrai que le film a plutôt bien respecté l'oeuvre originale,
j'ai eu le même frisson à la fin du livre comme à la fin du film. Et j'ai réussi à dire "livre" et "film" 3
fois en une seule phrase, trop forte je suis! Une bombe à pouf a explosée dans le salon de Mémé.
Thème Awesome Inc.. Images de thèmes de Jason Morrow. Fourni par Blogger. I haven't seen
enough of Chastain overall to really get to know her as an actress – I think this about the first (and
only) film I've seen her in, so I don't know if she's versatile (or not) enough to make me really want
to
watch more of her. Some actors can really morph into their roles and inhabit the characters they
portray, and other actors simply "act" the way they've been told to by the director, and I think in this
case I'd be pointing to the latter rather than the former. It's just a small thing – and don't get me
wrong, I think her "acting" here was very very good – I just didn't get into her performance like I did
with
Octavia
Spencer's, for example. La reconstitution des années '60 est évidemment magnifique, et on ne peut
s'empêcher de penser à Mad Men et au personnage de Betty Drapper tant le stéréotype de la femme
à
la maison qui devra toujours être belle et tirée à quatre épingles est le même ici. C'est Skeeter qui fait
figure d'ovni à ne vouloir qu'une chose: faire carrière au lieu de faire des bébés. Installée bien au
(quasi) frais dans mon salon avec une bouillote chaude et poilue nommée Lucy contre les jambes, je
démarrais le film et me sentais bien. J'avais envie d'un bon film, drôle mais aussi touchant. The Help
me
paru un bon choix, non pas que je prête grande attention aux récompenses cinématographiques mais
la bande-annonce m'avait donnée envie de le voir. Website text and design is copyright 2024 Alpha
Coders.
Btw,
@fernby thanks
for
the
link

Thème
Awesome
Inc..
Images
de
thèmes
de
Jason
Morrow.
Fourni
par
Blogger.
@rorydean
I
haven't
seen
Pretty
Ugly
People
yet,
Rory,
but
it's
one
I'm
definitely
checking
out
if
I
can
find
a
copy
at
my
local
DVD
store.
Skeeter
est
une
jeune
femme
qui
a
de
l'ambition.
Elle
ne
veut
pas,
à
contrario
de
ses
amies
embourgeoisées,
rester
à
la
maison
à
pondre
des
gamins
alors
qu'elle
sort
elle-
même
à
peine
de
l'enfance.
Elle
veut
devenir
journaliste,
ou
écrivain.
Ou
les
deux.
Elle
possède
un
grand
sens
moral
et n'a
pas
sa
langue
en
poche,
ce
qui
à
l'époque
est
plutôt
un
fléau pour
une
jeune
fille
bien.
Elle
se
trouve
de
plus
moche
avec
ses
cheveux
sauvages
alors
qu'il
faudrait
avoir
dompté
sa
tignasse
en
des
chignons
compliqués
ou
des
permanentes
laquées
à
la
limite
de
la
plastification
afin
de
pouvoir
mettre
la
main
sur
un
bon
parti.
Website
text
and
design
is
copyright
2024
Alpha
Coders.
An
aspiring
author
during
the
civil
rights
movement
of
the
1960s
decides
to
write
a
book
detailing
the
African
American
maids'
point
of
view
on
the
white
families
for
which
they
work,
and
the
hardships
they
go
through
on
a
daily
basis.
©
2007
-
2024
Columbus
Film
Critics
Association.
All
rights
reserved.
At
the
end
of
The
Help,
a
film
about
prejudice
and
racism
in
the
Deep
South
of
the
US
during
the
60’s,
my
wife
was
bawling
her
eyes
out.
Not
because
the
film
is
in
any
way
so
terrible
as
to
elicit
tears
of
hatred
towards
the
final
product,
but
because
the
story
itself
is
so
moving,
and
the
final
scenes
so
heartbreaking,
that
if
I
give
no
other
recommendation
for
which
you’ll
sit
and
watch
this
movie,
then
you
are
beyond
help.
Normally,
as
a
viewer,
films
with
themes
like
The
Help
both
anger
and
frustrate
me,
and
this
film
was
no
different.
The
injustices
of
the
time
and
place
this
film
is
set
–
1960’s
Mississippi
–
and
the
people
involved,
is
so
horrendous
to
us
now
that
it’s
almost
impossible
to
comprehend
just
how
vile
society
became
to
our
fellow
humans.
The
Help
is
based
on
a
book
–
a
very
successful
book
–
by
Kathryn
Stockett
and
has
been
transformed
into
a
film
by
Stockett’s
long-
time
childhood
friend
Tate
Taylor,
whose
last
film
was
the
relatively
low-
budget
Pretty
Ugly
People.
Stockett’s
novel
spent
a
deal
of
time
as
the
number
1
book
on
the
New
York
Times
Bestseller
list,
so
to
see
the
film
among
this
years
Oscar
nominees
for
Best
Picture
would
have
to
be
reward
enough
for
Taylor
and
the
cast;
a
film
tackling
the
issues
spruiked
in
The
Help
could
have
resulted
in
a
film
with
a
different
flavoring,
yet
the
end
result
seems
more
a
love-
letter
to
the
time
and
the
people
than
any
kind
of
indictment.
Un
joyeux
bordel
et
un
véritable
mic-
mac
de
ce
que
j'aime
(ou
pas),
avec
photo,
jeux
débiles,
sondages
navrants,
bref,
ma
vie
quoi
;)
N'hésitez
pas
à
laisser
un
p'tit
mot!
@rtm
Ruth,
I
too
was
disappointed
that
Davis
wasn't
given
the
gong
for
this,
I
actually
thought
she
did
a
better
job
that
even
Octavia
Spencer.
Still,
at
least
somebody
won
something
for
this
film,
even
if
it
never
snuck
in
for
Best
Picture.
Hopefully
that
attention
gave
it
a
larger
audience!
The
Help
-
La
Couleur
des
Sentiments
en
français
-
est
l'adaptation
du
livre
du
même
nom
de
Kathryn
Stockett.
Le
synopsis
est
assez
simple:
nous
sommes
dans
les
années
'60,
en
plein
coeur
du
Mississippi.
Dans
la
ville
de
Jackson,
il
est
normal
d'avoir
sa
bonne
attitrée.
Une
bonne-
à-
tout-
faire
qui
sera
bien
sûr
afro-
américaine
et
qu'il
sera
de
bon
ton
de
sous-
payer,
d'envoyer
dehors
faire
ses
besoins
car
utiliser
les
mêmes
toilettes
qu'elle
risque
de
vous
rendre
malade,
et
de
traiter
comme
une
moins
que
rien.
Ca
ne
choque
personne.
Ou
presque.
Dans
les
années'60,
c'était
un
look
affreux. De nos jours, les lunettes cat eye sont trop tendance I don’t profess to be an expert on 60’s
US
race relations, nor am I familiar with racism in my daily life in any respect, so I approach my review
of
this
film
with
a
fairly unbiased opinion on the subject matter. Of course, I’m familiar with racism in general, and it
goes without saying that the majority of the 20th century saw a great deal of change in the treatment
of
minority groups within all areas of Western society – be it African Americans, American Indians, or
our
own Australian Aborigines. The hotbed of race relations in America’s Deep South is an issue I think
people
still struggle with to this day, and it’s a well known fact that segments of society in that area are still
living the ideal that black Americans are a lesser class of people – this film doesn’t try and modify
your thinking to this, nor does it attempt to be controversial with the subject matter in the kind of
way
you’d expect; no, Tate Taylor’s picture-postcard film seems to embrace the time and people,
portraying them as people instead of caricatures of the era. Bryce Dallas Howard is as close to a
traditional villain as this film has, as Hilly, the racist leader of the pack who belittles and emotionally
abuses all those – black or white – she sees as lower standing than herself. Hilly, as a character, is
portrayed as vile and abhorrent, the personification of all that is bad about racism, and yet at the end
of
it
all, her fall from grace (and she does fall) feels more like pity than outright fist-pumping villainy.
Emma Stone, an actress I’m gradually coming around to in her serious roles (after this and her part in
Crazy, Stupid, Love.) is quite good as Skeeter, and imbues her intellectual writer character with
enough
street-smarts not to come off as condescending or self-serving – which would have been a fatal flaw
for
the
film. Skeeter’s cancer-ridden mother, Charlotte, is played to perfection by Alison Janney, and the
two actresses bounce emotions off each other exceptionally well. Thank you for the link! Very kind
indeed. Yes, I agree with you on the men's roles. They were unnecessary (oddly enough). Was really
wishing Viola Davis won an Oscar for this, but was real glad to see Octavia win as well. It was so
awesome to see Viola's support for her friend at all of the award ceremonies. Un regard suffit parfois
à
exprimer beaucoup de chose. Great review. Glad you enjoyed the movie so well. We see Chastain's
performance a little differently (I found it rather moving and sad…well performed), but all in all we
agree on this film! Don't tell anyone. The main story of this film, however, doesn’t belong to
Skeeter
or her mother – heck, it doesn’t even belong to Howard’s odious Hilly. No, The Help reaches heights
of
greatness thanks to the performances of two people: Octavia Spencer and Viola Davis. Portraying
two housemaids, Spencer and Davis are the heart and soul of this film, and without their
extraordinary performances, this film would be a blip on the radar to disappear faster than it arrived.
Davis
is
the
particular standout for me, as Aibileen, the downtrodden-yet-pure-of-soul woman working to raise
one
white
woman’s child, while still mourning the recent loss of her own only child. As Aibileen, Davis
channels her very soul into the role, giving a heartbreaking performance that is both moving and
destroying. Key among the factors of her character is her relationship with the young girl she’s
raising – since the girls mother, Elizabeth Leefolt (Ahna O’Reilly) is more interested in being seen to
be
a
parent than actually being a mother, it’s left to Aibileen to instill values and a sense of self worth into
the
youngster. The young girl, played by twins Emma and Eleanor Henry, sees Aibileen as her “true
mother”, to quote from the film, which is truly heartbreaking to see. Minny, played by Olivia
Spencer, is a sharp-of-tongue and somewhat bitter friend of Aibileens, beaten by an abusive husband,
and
one-time maid to Hilly, who ends up working for social outcast Celia. Spencer is terrific in the part,
delivering some wonderful dialogue and sparkling off the screen; her friendship with Aibileen, as
well as a burgeoning motherly role towards Celia, are twin plot arcs that are just beautiful to watch.
Both women are superb their roles, and equally deserving of the praise heaped upon them. I
remember going into this movie with a bit more skepticism and distance because I had waited so long
to
see
it
than
when I first heard about it. I know it was, and continues to be scrutinized as much for the book as
the
adaptation, those who were awarded and those who were not, and historically speaking there is
always a little fire in every film about race, racism and identity discovery. This is definitely a
character film first, then story, then plot – the way it should be. The roles were brilliantly cast.
Actor, writer-director Tate Taylor is also responsible for Pretty Ugly People and I recommend that
one. I'm still not a fan of Jessica Chastain. I think a better film is waiting for her. She telegraphed
her
performance in this film, often always in the emotion instead of finding it through the scenes the
way
Meryl Streep lives and breathes in her films, first present then in discovery – she's wide open, raw,
dangerously close to burning up then fading away – the delight of living truthfully in imaginary
circumstances, again the way it should be. I want to like Chastain the way I want to like Jesse
Eisenberg (see Holly Rollers, also The Social Network, Squid and the Whale). I caught her in Take
Shelter with Michael Shannon and it was just such a disappointment. I reviewed it, please check it
out
at
Above The Line. Can I include the link here? ;http://rorydean.wordpress.com/2012/03/27/take-
shelter-2011/ @Al_K_Hall **Psssst** Hey Al! Wanna know a secret? Copyright © Fernby Films.
All
rights
reserved.
| CoverNews by AF themes. J'avais lu et adoré le livre. Le film m'a l'air assez fidèle. Installée bien
au (quasi) frais dans mon salon avec une bouillote chaude et poilue nommée Lucy contre les jambes,
je démarrais le film et me sentais bien. J'avais envie d'un bon film, drôle mais aussi touchant. The
Help
me paru un bon choix, non pas que je prête grande attention aux récompenses cinématographiques
mais la bande-annonce m'avait donnée envie de le voir. The Help strikes me as a kind of low-fi
Forrest Gump-styled narrative poem, with an almost whimsical feel to it all, as if the events
described belong inside a fairy story at times. The occasional twinges of truth and bitter reality seem
framed within the motif of a heightened history, a kind of skewed-perspective of memory. This is a
film
to
be
savored, the kind of film you’d liken to a Shawshank Redemption or Dances With Wolves: it’s
moving,
it’s
grounded in reality and yet seems almost a fantasy, lit with the subtle hue and glow of that bygone
era we’ve seen so often. This isn’t fast-food cinema. It’s not junk film-making to be watched and
dispatched with alacrity to the bargain bin of cultural relics. The Help is a moving, often delightful,
always amazing film experience. Whatever you do, don’t miss it. All submitted content remains
copyright
its original copyright holder | DMCA Copyright Violation Les actrices sont bien évidemment plus
qu'à la hauteur. On retrouve dans le rôle de Skeeter la très belle Emma Stone qui réussit à mêler
douceur, éffronterie, révolte et ambition avec brio. Mais son personnage n'est qu'un faire-valoir pour
trois autres actrices incroyables: Viola Davis, qui interprète Aibileen Clark, celle qui sera la première
à
accepter de parler à Skeeter; Octavia Spencer, absolument craquante et époustouflante en Minny
Jackson,
la
meilleure cuisinière de Jackson, femme forte et de caractère qui doit lutter pour ne pas dire tout haut
ce
qu'elle
pense tout bas; et Bryce Dallas Howard, effrayante de naturel dans son rôle de Hilly Holbrook. On
ne
peut pas ne pas parler de Jessica Chastain qui apporte un peu de fraîcheur au film avec son
personnage mélancolique qui cache sa tristesse sous des sourires charmeurs et un comportement
frivole.
The
main
story
of
this
film,
however,
doesn’t
belong
to
Skeeter
or
her
mother
–
heck,
it
doesn’t
even
belong
to
Howard’s
odious
Hilly.
No,
The
Help
reaches
heights
of
greatness
thanks
to
the
performances
of
two
people:
Octavia
Spencer
and
Viola
Davis.
Portraying
two
housemaids,
Spencer
and
Davis
are
the
heart
and
soul
of
this
film,
and
without
their
extraordinary
performances,
this
film
would
be
a
blip
on
the
radar
to
disappear
faster
than
it
arrived.
Davis
is
the
particular
standout
for
me,
as
Aibileen,
the
downtrodden-
yet-
pure-
of-
soul
woman
working
to
raise
one
white
woman’s
child,
while
still
mourning
the
recent
loss
of
her
own
only
child.
As
Aibileen,
Davis
channels
her
very
soul
into
the
role,
giving
a
heartbreaking
performance
that
is
both
moving
and
destroying.
Key
among
the
factors
of
her
character
is
her
relationship with the young girl she’s raising – since the girls mother, Elizabeth Leefolt (Ahna
O’Reilly) is more interested in being seen to be a parent than actually being a mother, it’s left to
Aibileen to instill values and a sense of self worth into the youngster. The young girl, played by
twins Emma and Eleanor Henry, sees Aibileen as her “true mother”, to quote from the film, which is
truly heartbreaking to see. Minny, played by Olivia Spencer, is a sharp-
of-
tongue and somewhat bitter friend of Aibileens, beaten by an abusive husband, and one-time maid to
Hilly, who ends up working for social outcast Celia. Spencer is terrific in the part, delivering some
wonderful dialogue and sparkling off the screen; her friendship with Aibileen, as well as a
burgeoning motherly role towards Celia, are twin plot arcs that are just beautiful to watch. Both
women are superb their roles, and equally deserving of the praise heaped upon them. An aspiring
author during the civil rights movement of the 1960s decides to write a book detailing the African
American maids' point of view on the white families for which they work, and the hardships they go
through on a daily basis. Jesse Eisenberg I have other problems with, so don't get me started on him!
@Top 10 Films Dan It's worth a look my friend!! let me know what you think when you get to see
it!! I enjoyed this one too, so my review is more in line w/ yours, Rodney. I think Viola Davis owned
this
one, was wishing she'd won the Oscar. I like that there are whimsical elements to an otherwise
emotional and serious film. 10/10? That is a major score there Rodney. I have had this to watch for
ages. The only reason I don't is the 143 min running time… not really the best reason not to watch a
film
huh? But there is no denying the score here. I will get it done now, I promise!! Installée bien au
(quasi) frais dans mon salon avec une bouillote chaude et poilue nommée Lucy contre les jambes, je
démarrais le film et me sentais bien. J'avais envie d'un bon film, drôle mais aussi touchant. The Help
me paru un bon choix, non pas que je prête grande attention aux récompenses cinématographiques
mais la bande-annonce m'avait donnée envie de le voir. The Help est un très beau film. Certes c'est
un drame un peu tire-larmes avec des scènes un peu faciles (d'où mes 3 *** et demie), mais le tout
est tellement bien emballé et présenté que l'on a envie de se laisser emporter par ces bons sentiments
un peu gimauvesques. Si après ce film, vous n'avez pas envie de poulet frit, de cornbread, ou de
bonne bouffe americaine bien roborative, c'est que vous n'êtes pas humain “Skeeter” Phelan (Emma
Stone) has just graduated from the University of Mississippi, and returns home to Jackson to find her
family’s beloved maid Constantine (Cicely Tyson) has left. After finding her old friends have all
become married and are in the process of having children, Skeeter finds work as a self-help
columnist for the local newspaper, although her true calling is to write a book. Searching for a
subject, she decides to secretly write about the life of the local maids – all black women working for
less than minimum wage – from their point of view, in order to provoke a reaction from the white
community. In 60’s Mississippi, to provoke civil unrest in such a way was an offense punishable by
imprisonment. Two local maids, Aibileen (Viola Davis) and Minny (Octavia Spencer) are initially
reluctant to give their stories to Skeeter, although after a series of racially insensitive events they
soon decide to make a change in their community. One of Skeeter’s former friends, Hilly (Bryce
Dallas Howard) is the leader of her social circle, and uses her overbearing white-trash personality to
bully those around her into doing what she wants, including ostracizing another young wife, Celia
(Jessica Chastain) because Celia’s new husband used to be Hilly’s old boyfriend. When Minny
commits a major offense to Hilly (and I won’t spoil the surprise, but it’s awesome!) things go from
bad to worse, as the secret attempt to write a book from the Negro perspective starts to gain
momentum and popularity. Tout à fait d'accord! J'ai lu le livre après avoir vu le film, et c'est vrai que
le film a plutôt bien respecté l'oeuvre originale, j'ai eu le même frisson à la fin du livre comme à la
fin du film. Et j'ai réussi à dire "livre" et "film" 3 fois en une seule phrase, trop forte je suis!
@rorydean I haven't seen Pretty Ugly People yet, Rory, but it's one I'm definitely checking out if I
can find a copy at my local DVD store. The Help strikes me as a kind of low-fi Forrest Gump-
styled narrative poem, with an almost whimsical feel to it all, as if the events described belong inside
a
fairy story at times. The occasional twinges of truth and bitter reality seem framed within the motif
of
a
heightened history, a kind of skewed-perspective of memory. This is a film to be savored, the kind
of
film
you’d liken to a Shawshank Redemption or Dances With Wolves: it’s moving, it’s grounded in
reality and yet seems almost a fantasy, lit with the subtle hue and glow of that bygone era we’ve
seen so often. This isn’t fast-food cinema. It’s not junk film-making to be watched and dispatched
with alacrity to the bargain bin of cultural relics. The Help is a moving, often delightful, always
amazing film experience. Whatever you do, don’t miss it. We Really Appreciate It When You Share
What You've Found!: Images are for personal, non commercial use. J'avais lu et adoré le livre. Le
film
m'a l'air assez fidèle. Les actrices sont bien évidemment plus qu'à la hauteur. On retrouve dans le
rôle de Skeeter la très belle Emma Stone qui réussit à mêler douceur, éffronterie, révolte et
ambition avec brio. Mais son personnage n'est qu'un faire-valoir pour trois autres actrices incroyables:
Viola
Davis, qui interprète Aibileen Clark, celle qui sera la première à accepter de parler à Skeeter; Octavia
Spencer, absolument craquante et époustouflante en Minny Jackson, la meilleure cuisinière de
Jackson, femme forte et de caractère qui doit lutter pour ne pas dire tout haut ce qu'elle pense tout
bas; et Bryce Dallas Howard, effrayante de naturel dans son rôle de Hilly Holbrook. On ne peut pas
ne pas parler de Jessica Chastain qui apporte un peu de fraîcheur au film avec son personnage
mélancolique qui cache sa tristesse sous des sourires charmeurs et un comportement frivole. @rtm
Ruth, I too was disappointed that Davis wasn't given the gong for this, I actually thought she did a
better job that even Octavia Spencer. Still, at least somebody won something for this film, even if it
never snuck in for Best Picture. Hopefully that attention gave it a larger audience! C'était samedi
dernier. Il faisait pétant d'chaud, je venais de finir le ménage et j'avais décidé que cette journée serait
dédiée au cinéma (comprendre: au projo). Le soleil commençait à s'insinuer dans mon salon comme
le sale sournois tout jaune qu'il est (et là si j'étais pas asiat' on me traiterait de raciste), et, avec un
sourire carnassier, je lui fermais les rideaux doublés anti-chaleur à la gueule. En bonus sur le Blue-
Ray, une rencontre entre des femmes ayant vécu ce que Minny et Aibileen ont vécu, et Octavia
Spencer
et Tate Taylor. Une interview qui nous rappelle que cette époque n'est vraiment pas si lointaine que
ça. @DantheMan610 For some reason Viola Davis reminds me of Alfre Woodard…. I'm not sure
why, they don't even look the same. I think Davis will definitely snag an Oscar at some point in her
career, as long as she doesn't keep appearing in tiny roles like she did in Extremely Loud &
Incredibly Close…. Website text and design is copyright 2024 Alpha Coders. Lentement mais
sûrement, Skeeter va oser braver les interdits de l'époque, et surtout de l'Etat du Mississippi pour
mettre sur pied un projet interdit: écrire un livre sur la vie de ces petites mains noires travaillant à
l'ombre de ces riches blancs. Des amitiés naîtront, amitiés qui ne peuvent pas être en 1960, des
rencontres se feront, et des scandales éclateront. Sorry, our site is offline until further notice. We
appreciate your visiting and wish you all the best.
Fraîchement
sortie
de
l'université
et
ayant
décroché
un
petit
job
dans
le
journal
local,
Skeeter
rejoint
ses
amies
qu'elle
n'a
plus
vue
depuis
plusieures
années. C'est là qu'elle se heurte à cette vision de jeunes femmes aisées d'une superficialité exacerbée,
la palme toute catégorie confondue revenant à Hilly Holbrook, responsable d'une collecte de fonds
pour les pauvres enfants d'Afrique, mais traitant sa bonne comme une moins que rien. En bonus sur
le
Blue-Ray, une rencontre entre des femmes ayant vécu ce que Minny et Aibileen ont vécu, et Octavia
Spencer et Tate Taylor. Une interview qui nous rappelle que cette époque n'est vraiment pas si
lointaine que ça. Jesse Eisenberg I have other problems with, so don't get me started on him! Si après
ce film, vous n'avez pas envie de poulet frit, de cornbread, ou de bonne bouffe americaine bien
roborative, c'est que vous n'êtes pas humain The Help est un film qui vous fera sourire, rire, pleurer,
et
qui vous laissera avec une drôle de sensation à la fin: certes, une révolution a été mise en marche par
Skeeter, mais The Help nous laisse désemparées devant le futur encore bien noir de Aibileen et de
Minny qui ne verront pas de changement décisifs avant de longues années. Skeeter est une jeune
femme qui a de l'ambition. Elle ne veut pas, à contrario de ses amies embourgeoisées, rester à la
maison à pondre des gamins alors qu'elle sort elle-même à peine de l'enfance. Elle veut devenir
journaliste, ou écrivain. Ou les deux. Elle possède un grand sens moral et n'a pas sa langue en poche,
ce qui à l'époque est plutôt un fléau pour une jeune fille bien. Elle se trouve de plus moche avec ses
cheveux sauvages alors qu'il faudrait avoir dompté sa tignasse en des chignons compliqués ou des
permanentes laquées à la limite de la plastification afin de pouvoir mettre la main sur un bon parti.
An aspiring author during the civil rights movement of the 1960s decides to write a book detailing
the African American maids' point of view on the white families for which they work, and the
hardships they go through on a daily basis. @rtm Ruth, I too was disappointed that Davis wasn't
given the gong for this, I actually thought she did a better job that even Octavia Spencer. Still, at
least somebody won something for this film, even if it never snuck in for Best Picture. Hopefully
that attention gave it a larger audience! Way too long for a movie like this. However, it was the
performances that held me over and it really is a shame that Viola Davis didn't get any Oscar love
for her work here because the girl totally knocks it out of the park. Maybe another year though.
Good review Rod. Installée bien au (quasi) frais dans mon salon avec une bouillote chaude et poilue
nommée Lucy contre les jambes, je démarrais le film et me sentais bien. J'avais envie d'un bon film,
drôle mais aussi touchant. The Help me paru un bon choix, non pas que je prête grande attention aux
récompenses cinématographiques mais la bande-annonce m'avait donnée envie de le voir. “Skeeter”
Phelan (Emma Stone) has just graduated from the University of Mississippi, and returns home to
Jackson to find her family’s beloved maid Constantine (Cicely Tyson) has left. After finding her old
friends have all become married and are in the process of having children, Skeeter finds work as a
self-help columnist for the local newspaper, although her true calling is to write a book. Searching for
a subject, she decides to secretly write about the life of the local maids – all black women working
for less than minimum wage – from their point of view, in order to provoke a reaction from the white
community. In 60’s Mississippi, to provoke civil unrest in such a way was an offense punishable by
imprisonment. Two local maids, Aibileen (Viola Davis) and Minny (Octavia Spencer) are initially
reluctant to give their stories to Skeeter, although after a series of racially insensitive events they
soon decide to make a change in their community. One of Skeeter’s former friends, Hilly (Bryce
Dallas Howard) is the leader of her social circle, and uses her overbearing white-trash personality to
bully those around her into doing what she wants, including ostracizing another young wife, Celia
(Jessica Chastain) because Celia’s new husband used to be Hilly’s old boyfriend. When Minny
commits a major offense to Hilly (and I won’t spoil the surprise, but it’s awesome!) things go from
bad to worse, as the secret attempt to write a book from the Negro perspective starts to gain
momentum and popularity. The Help strikes me as a kind of low-fi Forrest Gump-styled narrative
poem, with an almost whimsical feel to it all, as if the events described belong inside a fairy story at
times. The occasional twinges of truth and bitter reality seem framed within the motif of a
heightened history, a kind of skewed-perspective of memory. This is a film to be savored, the kind of
film you’d liken to a Shawshank Redemption or Dances With Wolves: it’s moving, it’s grounded in
reality and yet seems almost a fantasy, lit with the subtle hue and glow of that bygone era we’ve
seen so often. This isn’t fast-food cinema. It’s not junk film-making to be watched and dispatched
with alacrity to the bargain bin of cultural relics. The Help is a moving, often delightful, always
amazing film experience. Whatever you do, don’t miss it. I enjoyed this one too, so my review is
more in line w/ yours, Rodney. I think Viola Davis owned this one, was wishing she'd won the Oscar.
I like that there are whimsical elements to an otherwise emotional and serious film. Thème Awesome
Inc.. Images de thèmes de Jason Morrow. Fourni par Blogger. And mate, you're always welcome to
link here; my door is always open! On the other hand, the Oscar nominated performance by Jessica
Chastain, as Celia, left me cold. Don’t get me wrong, Chastain is great in the ditzy, scattershot part
of a desperate-to-get-pregnant wife of a wealthy landowner, but in this instance, I don’t think the
part called for an Oscar nod. Had I been forced to choose a third acting nomination for this film, I’d
have slid my pen across to the name of Bryce Dallas Howard, who delivers one of her best roles yet
as Hilly. That being said, all the performances here are excellent, although, in a weird twist, it’s the
male roles I found hardest to watch. Mike Vogel, as Celia’s husband, and Chris Lowell, playing
Skeeter’s boyfriend Stuart, are the two biggest male roles in the film, and they’re barely in it. Neither
actor is called upon to deliver an extraordinary performance: in fact, I found both Vogel and Lowell
to be quite wooden in what little delivery they had. The Help has virtually no male roles whatsoever,
with the narrative cleverly keeping us focused on the women of the story: one particular scene, in
which Minny’s husband returns home to give her a beating, is almost entirely done off-camera, with
Aibileen listening in over the phone. The men in this story appear to be of little consequence, and
although I could have found myself disappointed, I figured that it wasn’t the intention of the original
story to showcase both sexes in this narrative, but purely to discover what the women of the time
thought. Fair enough, I reckon. Sorry, our site is offline until further notice. We appreciate your
visiting and wish you all the best. All submitted content remains copyright its original copyright
holder | DMCA Copyright Violation Un regard suffit parfois à exprimer beaucoup de chose. Btw,
@fernby thanks for the link The Help - La Couleur des Sentiments en français - est l'adaptation
du livre du même nom de Kathryn Stockett. Le synopsis est assez simple: nous sommes dans les
années '60, en plein coeur du Mississippi. Dans la ville de Jackson, il est normal d'avoir sa bonne
attitrée. Une bonne-à-tout-faire qui sera bien sûr afro-américaine et qu'il sera de bon ton de sous-
payer, d'envoyer dehors faire ses besoins car utiliser les mêmes toilettes qu'elle risque de vous rendre
malade, et de traiter comme une moins que rien. Ca ne choque personne. Ou presque. 10/10? That is
a major score there Rodney. I have had this to watch for ages. The only reason I don't is the 143 min
running time… not really the best reason not to watch a film huh? But there is no denying the score
here. I will get it done now, I promise!!
Skeeter est une jeune femme qui a de l'ambition. Elle ne veut pas, à contrario de ses amies
embourgeoisées, rester à la maison à pondre des gamins alors qu'elle sort elle-même à peine de
l'enfance. Elle veut devenir journaliste, ou écrivain. Ou les deux. Elle possède un grand sens moral
et n'a pas sa langue en poche, ce qui à l'époque est plutôt un fléau pour une jeune fille bien. Elle se
trouve de plus moche avec ses cheveux sauvages alors qu'il faudrait avoir dompté sa tignasse en des
chignons compliqués ou des permanentes laquées à la limite de la plastification afin de pouvoir
mettre la main sur un bon parti. Tout à fait d'accord! J'ai lu le livre après avoir vu le film, et c'est
vrai que le film a plutôt bien respecté l'oeuvre originale, j'ai eu le même frisson à la fin du livre
comme à la fin du film. Et j'ai réussi à dire "livre" et "film" 3 fois en une seule phrase, trop forte je
suis! 10/10? That is a major score there Rodney. I have had this to watch for ages. The only reason I
don't is the 143 min running time… not really the best reason not to watch a film huh? But there is
no denying the score here. I will get it done now, I promise!! Les actrices sont bien évidemment plus
qu'à la hauteur. On retrouve dans le rôle de Skeeter la très belle Emma Stone qui réussit à mêler
douceur, éffronterie, révolte et ambition avec brio. Mais son personnage n'est qu'un faire-valoir pour
trois autres actrices incroyables: Viola Davis, qui interprète Aibileen Clark, celle qui sera la première
à accepter de parler à Skeeter; Octavia Spencer, absolument craquante et époustouflante en Minny
Jackson, la meilleure cuisinière de Jackson, femme forte et de caractère qui doit lutter pour ne pas
dire tout haut ce qu'elle pense tout bas; et Bryce Dallas Howard, effrayante de naturel dans son rôle
de Hilly Holbrook. On ne peut pas ne pas parler de Jessica Chastain qui apporte un peu de fraîcheur
au film avec son personnage mélancolique qui cache sa tristesse sous des sourires charmeurs et un
comportement frivole. La reconstitution des années '60 est évidemment magnifique, et on ne peut
s'empêcher de penser à Mad Men et au personnage de Betty Drapper tant le stéréotype de la femme à
la maison qui devra toujours être belle et tirée à quatre épingles est le même ici. C'est Skeeter qui fait
figure d'ovni à ne vouloir qu'une chose: faire carrière au lieu de faire des bébés. Jesse Eisenberg I
have other problems with, so don't get me started on him! Btw, @fernby thanks for the link
Copyright © Fernby Films. All rights reserved. | CoverNews by AF themes. Wait, what was this film
rated? If it was rated +17, i may let myself be tempted. I enjoyed this one too, so my review is more
in line w/ yours, Rodney. I think Viola Davis owned this one, was wishing she'd won the Oscar. I
like that there are whimsical elements to an otherwise emotional and serious film. Heard a lot about
it given its award success but haven't seen it yet. After this glowing recommendation I better add it
to my list! C'était samedi dernier. Il faisait pétant d'chaud, je venais de finir le ménage et j'avais
décidé que cette journée serait dédiée au cinéma (comprendre: au projo). Le soleil commençait à
s'insinuer dans mon salon comme le sale sournois tout jaune qu'il est (et là si j'étais pas asiat' on me
traiterait de raciste), et, avec un sourire carnassier, je lui fermais les rideaux doublés anti-chaleur à la
gueule. All submitted content remains copyright its original copyright holder | DMCA Copyright
Violation Thank you for the link! Very kind indeed. Yes, I agree with you on the men's roles. They
were unnecessary (oddly enough). Was really wishing Viola Davis won an Oscar for this, but was
real glad to see Octavia win as well. It was so awesome to see Viola's support for her friend at all of
the award ceremonies. En bonus sur le Blue-Ray, une rencontre entre des femmes ayant vécu ce que
Minny et Aibileen ont vécu, et Octavia Spencer et Tate Taylor. Une interview qui nous rappelle que
cette époque n'est vraiment pas si lointaine que ça. Une bombe à pouf a explosée dans le salon de
Mémé. And mate, you're always welcome to link here; my door is always open! Hmmm. 1.85:1 isn't
as good as 1.86:1 as far as aspect ratios go. I remember going into this movie with a bit more
skepticism and distance because I had waited so long to see it than when I first heard about it. I
know it was, and continues to be scrutinized as much for the book as the adaptation, those who were
awarded and those who were not, and historically speaking there is always a little fire in every film
about race, racism and identity discovery. This is definitely a character film first, then story, then
plot – the way it should be. The roles were brilliantly cast. Actor, writer-director Tate Taylor is also
responsible for Pretty Ugly People and I recommend that one. I'm still not a fan of Jessica Chastain.
I think a better film is waiting for her. She telegraphed her performance in this film, often always in
the emotion instead of finding it through the scenes the way Meryl Streep lives and breathes in her
films, first present then in discovery – she's wide open, raw, dangerously close to burning up then
fading away – the delight of living truthfully in imaginary circumstances, again the way it should be.
I want to like Chastain the way I want to like Jesse Eisenberg (see Holly Rollers, also The Social
Network, Squid and the Whale). I caught her in Take Shelter with Michael Shannon and it was just
such a disappointment. I reviewed it, please check it out at Above The Line. Can I include the link
here? ;http://rorydean.wordpress.com/2012/03/27/take-shelter-2011/ @DantheMan610 For some
reason Viola Davis reminds me of Alfre Woodard…. I'm not sure why, they don't even look the
same. I think Davis will definitely snag an Oscar at some point in her career, as long as she doesn't
keep appearing in tiny roles like she did in Extremely Loud & Incredibly Close…. J'avais lu et adoré
le livre. Le film m'a l'air assez fidèle. The Help est un film qui vous fera sourire, rire, pleurer, et qui
vous laissera avec une drôle de sensation à la fin: certes, une révolution a été mise en marche par
Skeeter, mais The Help nous laisse désemparées devant le futur encore bien noir de Aibileen et de
Minny qui ne verront pas de changement décisifs avant de longues années. Dans les années'60, c'était
un look affreux. De nos jours, les lunettes cat eye sont trop tendance We Really Appreciate It When
You Share What You've Found!: An aspiring author during the civil rights movement of the 1960s
decides to write a book detailing the African American maids' point of view on the white families for
which they work, and the hardships they go through on a daily basis. @FilmsWith_T No worries
about the link, Terrence, glad to be of service! It was good to see this film pick up at the Oscars – I
only wish Viola Davis had won for her role, but like you, I'm glad at least one of them won
something. Thanks for stopping by!