There is much to complain about in The Help. For one thing, the black folk cluck around like uniformly “good” hens in a hen house. This makes us sympathize with them, of course, but it tells the story from Whitey’s perspective, which means that it’s impossible to get a more realistic impression of what it was like to be a maid in Jackson, Mississippi on the eve of the civil rights movement. The black and white in The Help is literally black and white – so much so that it doesn’t leave a lot of room for placing film in 2011, when we already have a black President. However, having said all of that — and it needs to be said — The Help is full of what will undoubtedly be the year’s best ensemble and supporting acting for women. And for that, it gets a major pass.
At the top of the list is the heartbreaking portrayal of Aibileen by Viola Davis. She doesn’t get the laughs that the equally brilliant Octavia Spencer gets but her slow burn shows a versatility away from, say, her character in Doubt. The main thrust of The Help is not so much segregation and racism – although that runs through it too – but it’s this notion that the maids were really part of these families because they raised the children instead of the mothers. Somehow, even the white women who grew up with black mother figures grew up to hate blacks. To that end, the heart of this film is Aibileen who is with her last white baby as the film opens.
Aibileen is a natural writer, someone who jots down her own stories in her journal and had high hopes that someone in her family would end up being a writer. Yes, if you’re wondering, this has Oprah written all over it (Nate Berkis’ name appears in the production credits) and if Oprah were still around, The Help would get the full treatment, which had me wondering – is it better without that in terms of the Oscar race? But of course, no black maids were writers then, so Aibileen has to channel her words through the white writer in the film, the unfortunately named Skeeter (a wonderful Emma Stone).
I guess my main gripe with Davis’ character is that it would have been interesting to see her be the one to write the book — and then just have a white person help her get published. There is something ultimately unsavory about the idea that the white character reaps the career benefits on the backs of these black women whose stories were told. Since the film is based on a novel, not on a true story, I kind of wish the author had given a little more credit to Aibileen to be the one with the courage to get the project going. But none of that takes away from the mesmerizing turn by Davis, who should probably be the one to beat for Supporting Actress this year, unless of course they run her in lead and then she’s got to stare down Meryl Streep and Glenn Close, for starters. In supporting, she seems to have a better chance at a win. But why not put her in lead? She probably deserves it, although Emma Stone seems to be the lead as well.
There are so many great performances in The Help it’s hard to decide which of them will be considered for supporting Oscars. A SAG ensemble nod should be a clear and easy get. Best Picture could work if the critics went for it and it made a lot of money. But here are the standouts for me:
1. Viola Davis — for once she gets an opportunity to really show what she can do as an actress – she isn’t required to just be the “Stoic Negra” – she is funny, calm, hysterical, angry — you’d think she was playing a white woman. Just kidding. Davis has been circling the Oscar scene for a while now but she finally might see some gold.
2. Octavia Spencer — this is your more traditional Oscar supporting performance as she all but steals the show. Spencer finds the funny in every scene. She’s great in the quieter scenes too. If you had to pick two from the film, you can’t go wrong with Spencer and Davis.
3. Emma Stone – at first it appears that her character is going to be yet another too-pretty-for-the-part portrayal but Stone’s natural beauty is muted enough here to reveal a more authentic and believable character. She nails the tougher emotional scenes quite well. She’s one to watch — as I would love to see her really vamp it up in a part, like Kathleen Turner in Body Heat.
4. Jessica Chastain – Chastain was not given all that much to do in Tree of Life but in The Help she explodes off the screen as the socially undesirable blonde bombshell. Oscar loves him the dumb blonde, sexually free types so there is a good chance she could earn a nomination instead of the above two. Chastain lets it all hang out emotionally – with a firestorm behind her pasty white skin. Of all of the white characters hers is the most interesting. Otherwise, it seemed like there should be less of the white people and more of the maids.
5. Allison Janney – Janney’s role takes a while to reach fruition — as she seems at first to be just one of the mean background white ladies. But eventually, it takes hold as she’s given more time to explore her own relationships with “the help” and with her daughter (Stone).
6. Sissy Spacek and Cicely Tyson – of course, Ms. Spacek is always good — but it’s always nice to see her on film anyway. And Cicely Tyson is another living legend. Unfortunately, she doesn’t have much of a part but she does very well with limited screen time.
I thought Bryce Dallas Howard gave it her all but she was too over-the-top to be believable and very nearly ruined the film, I thought. I hate to say such a thing as she is really turning out to be a good actress, but I think someone should have told her to tone it down somewhat – give the character some air to breathe. We all have our good moments and our bad moments. It might have been nice to see a little less of Howard’s bad moments and maybe more of her good moments.
All in all, The Help was not a bad film. It’s not a great film either. The actors pull it through and the idea that is all too rare in Hollywood films now that, as the bumper sticker says, well behaved women rarely make history. Kick some doors down, take no prisoners and never let anyone tell you that you have to shut up just because of the color of your skin or the organ that’s between your legs.
Finally, the real story here is not necessarily the 1960s. We have a very similar dynamic going on right here in Los Angeles with illegal immigrants in important domestic roles in our homes. The hatred and fury against them, while not quite what it was in Jackson, is to be noted. Hopefully The Help might infuse some hard truths on both sides of the fence.
The movie was awesome and inspiring, no matter what color you are. Aibeleen is one of the most deep characters to be put on the big screen in years. Davis makes Aibeleen believable, relatable, courageous and powerful. Her performance transcends race. Aibeleen is portrayed as a woman of incredible integrity. I know it’s hard for some people to see “another black actress playing a maid”, but this wasn’t about “just a maid” – this was about a very complex person, with dreams and a depth of character. Not just any actress could have played that role as well and as moving as Davis. See the movie, open your hearts and your minds people. Just as an aside: Davis should definitely get the Oscar as the lead!
The movie was awesome and inspiring, no matter what color you are. Aibeleen is one of the most deep characters to be put on the big screen in years. Davis makes Aibeleen believable, relatable, courageous and powerful. Her performance transcends race. Aibeleen is portrayed as a woman of incredible integrity. I know it’s hard for some people to see “another black actress playing a maid”, but this wasn’t about “just a maid” – this was about a very complex person, with dreams and a depth of character. Not just any actress could have played that role as well and as moving as Davis. See the movie, open your hearts and your minds people. Just as an aside: Davis should definitely get the Oscar as the lead!
There are some recent posts that make me so mad and frustrated (how could they even see it this way, think this?) – that I don’t know were to start a response. So I won’t – unless I get some inspiration.
@John: “The others treated her family members very cordially; very well. They fed her family members well, gave them tons of clothes, etc.”
That was the old system, patronage, peonage when people were close to slaves happy to work just for a place to sleep, leftover food and used clothes. I know because that was the way it was in the country in the Philippines in the early 1990s.when I visited family. In the city it was different, maids were sought after so they could choose, get better pay and conditions, get amenitities like their own tv, etc.
My mom is partially disabled and still thinks the old fashioned way, thinking she can underpay her help buy feeding her and giving her old clothes. We try to impress on her that given choice between money and food/old clothes her help would rather have at least minimum wage, if not a living wage.
The Help movie meets the Real Help
http://www.youtube.com/watch?v=-RyEGeZmAn8
Meet Today’s Help
There are some recent posts that make me so mad and frustrated (how could they even see it this way, think this?) – that I don’t know were to start a response. So I won’t – unless I get some inspiration.
@John: “The others treated her family members very cordially; very well. They fed her family members well, gave them tons of clothes, etc.”
That was the old system, patronage, peonage when people were close to slaves happy to work just for a place to sleep, leftover food and used clothes. I know because that was the way it was in the country in the Philippines in the early 1990s.when I visited family. In the city it was different, maids were sought after so they could choose, get better pay and conditions, get amenitities like their own tv, etc.
My mom is partially disabled and still thinks the old fashioned way, thinking she can underpay her help buy feeding her and giving her old clothes. We try to impress on her that given choice between money and food/old clothes her help would rather have at least minimum wage, if not a living wage.
The Help movie meets the Real Help
http://www.youtube.com/watch?v=-RyEGeZmAn8
Meet Today’s Help
Sasha, I thought your comment was interesting…There is something ultimately unsavory about the idea that the white character reaps the career benefits on the backs of these black women whose stories were told.
The writer played by Emma Stone signed the book Anonymous, so not sure the extent to which she’ll reap benefits at least as portrayed by the film. She did benefit (don’t want to give away a potential spoiler) but given the era, it hardly seemed unrealistic that she would benefit more than “the help” who also benefited monetarily. Seems that some of the snarking going on about this wonderful film is very cynical and due to folks disliking the idea of a “white saviour” angle before they even see the film since the actual movie shows black and white women working together for the betterment of womankind.
Sasha, I thought your comment was interesting…There is something ultimately unsavory about the idea that the white character reaps the career benefits on the backs of these black women whose stories were told.
The writer played by Emma Stone signed the book Anonymous, so not sure the extent to which she’ll reap benefits at least as portrayed by the film. She did benefit (don’t want to give away a potential spoiler) but given the era, it hardly seemed unrealistic that she would benefit more than “the help” who also benefited monetarily. Seems that some of the snarking going on about this wonderful film is very cynical and due to folks disliking the idea of a “white saviour” angle before they even see the film since the actual movie shows black and white women working together for the betterment of womankind.
“For one thing, the black folk cluck around like uniformly “good” hens in a hen house.” -right they had to or be fired. I still was able to see things from their perspective during those scenes in their expressions and side comments to one. Do you not get that this is a period piece? This is the way things were. It is a slice of life piece from 1962 in Jackson, Miss. Did you expect that they would sass their white employers or not follow instructions to a T? That would be ridiculous and stupid on their parts in this time period. “I guess my main gripe with Davis’ character is that it would have been interesting to see her be the one to write the book — and then just have a white person help her get published. “No Aibileen couldnt have written the book herself, not because shes black but b/c IT WASNT HER IDEA. It was Skeeters and Skeeter put alot of time and effort into it getting it published. She thought of it of the concept, questions to ask,, and edited it. On top of that she was risking her life just as the maids were. The KKK tormented white sympathizers too (think white Freedom Riders) I think the book and the movie portrays all the maids and Skeeter as heroes. They needed each other to do this. Neither side could have done it alone.
“For one thing, the black folk cluck around like uniformly “good” hens in a hen house.” -right they had to or be fired. I still was able to see things from their perspective during those scenes in their expressions and side comments to one. Do you not get that this is a period piece? This is the way things were. It is a slice of life piece from 1962 in Jackson, Miss. Did you expect that they would sass their white employers or not follow instructions to a T? That would be ridiculous and stupid on their parts in this time period. “I guess my main gripe with Davis’ character is that it would have been interesting to see her be the one to write the book — and then just have a white person help her get published. “No Aibileen couldnt have written the book herself, not because shes black but b/c IT WASNT HER IDEA. It was Skeeters and Skeeter put alot of time and effort into it getting it published. She thought of it of the concept, questions to ask,, and edited it. On top of that she was risking her life just as the maids were. The KKK tormented white sympathizers too (think white Freedom Riders) I think the book and the movie portrays all the maids and Skeeter as heroes. They needed each other to do this. Neither side could have done it alone.
i know i’m in the minority here, but to me viola davis wasn’t really deserving of that oscar for doubt. all she had was this one scene and even though i’m not against cameos winning, i still don’t think that much of a character emerged there. davis went through a lot of emotions, but the character remained too much a structure, a bearer of symptoms, but not a character. to me that year the academy voted for a beautifully funny and vibrant performance in a pretty underrated movie, because you could say whatever you want about vicky cristina barcelona and it’s not even close to woody allen’s great movies of the 70’s and some really good of the 80’s (with hannah and her sisters is my favorite woody allen!), but despite of all the flaws and of the ‘let’s continue in my comfort zone’ feel of vicky cristina, it was an intelligent movie with some good acting and nice mood. and cruz stole the show. of the other nominees, i resect tomei’s performance and of the doubt ladies, i found amy adams more surprising — her character was the only character in doubt (the movie) that had something of a story arc. the other characters worked scene for scene, but not as a whole. anyway, i still believe that davis has a better shot this year for extremely loud and incredibly close, because – let’s face it – daldry will receive his fourth nomination and given the book’s status & the zeitgeist appeal, i believe it’ll be a major contender and david could be swept in, which would allow spencer to actually be competitive (with no other nominee from her film). probably davis could go lead with the help and supporting with the other film.
i know i’m in the minority here, but to me viola davis wasn’t really deserving of that oscar for doubt. all she had was this one scene and even though i’m not against cameos winning, i still don’t think that much of a character emerged there. davis went through a lot of emotions, but the character remained too much a structure, a bearer of symptoms, but not a character. to me that year the academy voted for a beautifully funny and vibrant performance in a pretty underrated movie, because you could say whatever you want about vicky cristina barcelona and it’s not even close to woody allen’s great movies of the 70’s and some really good of the 80’s (with hannah and her sisters is my favorite woody allen!), but despite of all the flaws and of the ‘let’s continue in my comfort zone’ feel of vicky cristina, it was an intelligent movie with some good acting and nice mood. and cruz stole the show. of the other nominees, i resect tomei’s performance and of the doubt ladies, i found amy adams more surprising — her character was the only character in doubt (the movie) that had something of a story arc. the other characters worked scene for scene, but not as a whole. anyway, i still believe that davis has a better shot this year for extremely loud and incredibly close, because – let’s face it – daldry will receive his fourth nomination and given the book’s status & the zeitgeist appeal, i believe it’ll be a major contender and david could be swept in, which would allow spencer to actually be competitive (with no other nominee from her film). probably davis could go lead with the help and supporting with the other film.
Saw it with my husband this afternoon. I won’t lie, I shed a few tears; my husband 3. We were at the 1st show, sparsely attended, all white except 2, no men except for my husband – but many sounds of crying & sniffs. My impression was many were relieved by the moments of comic relief.
I’m going to see it again to gut-check/reality-check my response to the movie, and report again – but I have a feeling it’ll be much the same. Effective, manipulative heartugger with outstanding performances which removed the most egregious, repulsive, revolting parts of the book.
#1 on my UGH list: “but it’s *only* a book/movie!” – at a time when kids, and increasingly adults get their mis-education from movies, to play fast and loose with and portray such a revisionist version about one of the most important periods of our American history is to continue that assault. Fortunately, the film is much better than the book in this regard, but overall the ‘white savior’ myth still prevails.
http://www.ew.com/ew/article/0,,20516492,00.html
“More troubling, though, is how the structure of narratives like The Help underscores the failure of pop culture to acknowledge a central truth: Within the civil rights movement, white people were the help.The architects, visionaries, prime movers, and most of the on-the-ground laborers of the civil rights movement were African-American. Many white Americans stood beside them, and some even died beside them, but it was not their fight – and more important, it was not their idea. Implicit in The Help and a number of other popular works that deal with the civil rights era is the notion that a white character is somehow crucial or even necessary to tell this particular tale of black liberation. What’s more, to imply that what the maids Aibileen and Minny are working against is simply a refusal on everyone’s part to believe that ‘we’re all the same underneath” is to simplify the horrors of Jim Crow to a truly damaging degree.”
Saw it with my husband this afternoon. I won’t lie, I shed a few tears; my husband 3. We were at the 1st show, sparsely attended, all white except 2, no men except for my husband – but many sounds of crying & sniffs. My impression was many were relieved by the moments of comic relief.
I’m going to see it again to gut-check/reality-check my response to the movie, and report again – but I have a feeling it’ll be much the same. Effective, manipulative heartugger with outstanding performances which removed the most egregious, repulsive, revolting parts of the book.
#1 on my UGH list: “but it’s *only* a book/movie!” – at a time when kids, and increasingly adults get their mis-education from movies, to play fast and loose with and portray such a revisionist version about one of the most important periods of our American history is to continue that assault. Fortunately, the film is much better than the book in this regard, but overall the ‘white savior’ myth still prevails.
http://www.ew.com/ew/article/0,,20516492,00.html
“More troubling, though, is how the structure of narratives like The Help underscores the failure of pop culture to acknowledge a central truth: Within the civil rights movement, white people were the help.The architects, visionaries, prime movers, and most of the on-the-ground laborers of the civil rights movement were African-American. Many white Americans stood beside them, and some even died beside them, but it was not their fight – and more important, it was not their idea. Implicit in The Help and a number of other popular works that deal with the civil rights era is the notion that a white character is somehow crucial or even necessary to tell this particular tale of black liberation. What’s more, to imply that what the maids Aibileen and Minny are working against is simply a refusal on everyone’s part to believe that ‘we’re all the same underneath” is to simplify the horrors of Jim Crow to a truly damaging degree.”
Does the Academy award “pure hokum” as Sasha has so described it.
Aw jeez, don’t say stuff like that. It just encourages people to bitch about their personal bugaboos. We’ll be lucky if they go after THE BLIND SIDE and leave it at that.
Does the Academy award “pure hokum” as Sasha has so described it.
Aw jeez, don’t say stuff like that. It just encourages people to bitch about their personal bugaboos. We’ll be lucky if they go after THE BLIND SIDE and leave it at that.
As the reactions keep coming….and the reviews…sounds more like a nomination for VD than a win. Does the Academy award “pure hokum” as Sasha has so described it.
And if a long-awaited film of “Fences” starring VD and her Tony co-winner Denzel…Now THAT sounds like an Oscar win…on paper…if it ever happens…
But Viola is a great, great actress, like Meryl….I hope she gets nominated A LOT. I wish you all could have seen her vibrant the Great White Way in “Fences.” Her perfomance shook the rafters…
AND just FYI, Viola was only the SECOND AA woman to ever win the Best Actress Tony. First was Ms. Rashad in “Raisin in the Sun.” And that was only recently, too.
As the reactions keep coming….and the reviews…sounds more like a nomination for VD than a win. Does the Academy award “pure hokum” as Sasha has so described it.
And if a long-awaited film of “Fences” starring VD and her Tony co-winner Denzel…Now THAT sounds like an Oscar win…on paper…if it ever happens…
But Viola is a great, great actress, like Meryl….I hope she gets nominated A LOT. I wish you all could have seen her vibrant the Great White Way in “Fences.” Her perfomance shook the rafters…
AND just FYI, Viola was only the SECOND AA woman to ever win the Best Actress Tony. First was Ms. Rashad in “Raisin in the Sun.” And that was only recently, too.
“However, I don’t think Davis can win because her performance is necessarily restrained and does not offer up that “big moment” that Oscar voters can latch onto”
What the hell are you talking about?
How about the scene where Davis talks about her son?
How about the ending scene of the movie?
If those aren’t Oscar moment scenes I don’t know what is.
All the women were terrific. Such a treat to such so many actresses shine on screen. I’d nominate both Davis and Octavia Spencer in supporting.
“However, I don’t think Davis can win because her performance is necessarily restrained and does not offer up that “big moment” that Oscar voters can latch onto”
What the hell are you talking about?
How about the scene where Davis talks about her son?
How about the ending scene of the movie?
If those aren’t Oscar moment scenes I don’t know what is.
All the women were terrific. Such a treat to such so many actresses shine on screen. I’d nominate both Davis and Octavia Spencer in supporting.
Viola Davis and Octavia Spencer have an excellent shot at nominations. Davis is the more likely nominee of the two only because she has established Oscar cred. However, I don’t think Davis can win because her performance is necessarily restrained and does not offer up that “big moment” that Oscar voters can latch onto. Emma Stone does what she can with the material, but the role is not strong enough to earn her a nod. Cicely Tyson is on screen for just a few moments, but she does marvelous work in the scene.
Viola Davis and Octavia Spencer have an excellent shot at nominations. Davis is the more likely nominee of the two only because she has established Oscar cred. However, I don’t think Davis can win because her performance is necessarily restrained and does not offer up that “big moment” that Oscar voters can latch onto. Emma Stone does what she can with the material, but the role is not strong enough to earn her a nod. Cicely Tyson is on screen for just a few moments, but she does marvelous work in the scene.
I just spoke to my 56 yr. old female black co-worker about the book/film and the black issues represented. Her thoughts are that her kids (teenagers) will not understand or like what they see onscreen. They’ll hate it. But she is an adult and knows the history. And she said that, from her family experience (50, 60, 70 yrs. ago) … if members of her family worked for white folks, some of the white folks acted like they never saw ‘the help’ (couldn’t care less about them), while others treated her family members very cordially; very well. They fed her family members well, gave them tons of clothes, etc.. She said that for as awful as it was, and wrong, it wasn’t awful for her particular family.
I just spoke to my 56 yr. old female black co-worker about the book/film and the black issues represented. Her thoughts are that her kids (teenagers) will not understand or like what they see onscreen. They’ll hate it. But she is an adult and knows the history. And she said that, from her family experience (50, 60, 70 yrs. ago) … if members of her family worked for white folks, some of the white folks acted like they never saw ‘the help’ (couldn’t care less about them), while others treated her family members very cordially; very well. They fed her family members well, gave them tons of clothes, etc.. She said that for as awful as it was, and wrong, it wasn’t awful for her particular family.
That’s a good addition, Keifer. I wish I had ever read Coriolanus; as it is, I have no idea which role is what.
That’s a good addition, Keifer. I wish I had ever read Coriolanus; as it is, I have no idea which role is what.
Let’s not forget to watch Vanessa Redgrave as Best Supporting Actress in “Coriolanus”.
She could sneak in there too.
Let’s not forget to watch Vanessa Redgrave as Best Supporting Actress in “Coriolanus”.
She could sneak in there too.
Just read a rave over at ew.com – gave the movie an A-
Just read a rave over at ew.com – gave the movie an A-
P.S. I don’t have the time right now to find the link but Home Shopping Network is selling products tied-in to The Help, including pearls, dresses, cookbooks and pots/pans. No maids’ uniforms and aprons though.
P.S. I don’t have the time right now to find the link but Home Shopping Network is selling products tied-in to The Help, including pearls, dresses, cookbooks and pots/pans. No maids’ uniforms and aprons though.
Sasha, I hope Viola Davis wins Best Supporting Actress in this, and Best Actress in a more worthy role and memorable movie. The Help is not what I want to be the apex of Davis’ career and for what she’s most famous.
Sasha, I hope Viola Davis wins Best Supporting Actress in this, and Best Actress in a more worthy role and memorable movie. The Help is not what I want to be the apex of Davis’ career and for what she’s most famous.
Viola can be better than this hokey movie. She deserves something gritter in the ‘Precious’ mold. You’d hate to think she’d win for this guilt-trip film.
Viola can be better than this hokey movie. She deserves something gritter in the ‘Precious’ mold. You’d hate to think she’d win for this guilt-trip film.
Right with you on your ughs, Ligaya. I feel your pain. The movie is pure hokum. But it doesn’t necessarily mean that it won’t head down Oscar’s path. And I suppose, in the end, that’s much of our job here.
Right with you on your ughs, Ligaya. I feel your pain. The movie is pure hokum. But it doesn’t necessarily mean that it won’t head down Oscar’s path. And I suppose, in the end, that’s much of our job here.
“They’ll all be leads by any standard definition, but there it is. I haven’t seen the play, but I think I read somewhere that Foster’s role will seem more “lead.” Correct me if I’m wrong, though.”
Well, Winslet and Waltz’s characters are certainly less interesting and allow fewer opportunities for both range and baitiness. Screentime-wise they might have just slightly less than the other couple, but I couldn’t see them really deserving to be in serious consideration for lead noms aside from name recognition.
“They’ll all be leads by any standard definition, but there it is. I haven’t seen the play, but I think I read somewhere that Foster’s role will seem more “lead.” Correct me if I’m wrong, though.”
Well, Winslet and Waltz’s characters are certainly less interesting and allow fewer opportunities for both range and baitiness. Screentime-wise they might have just slightly less than the other couple, but I couldn’t see them really deserving to be in serious consideration for lead noms aside from name recognition.
The movie seems too ensemble-y for Emma Stone to have a good shot at an Oscar nom, and her character is less interesting and baity, and Davis has the voiceovers, but perhaps Globe.
It’s looking like Emma Stone’s most recent projects, The Help and CSL, will have reviews that are positive – borderline between B- and C+ – but not as good as the one that got her a Globe nom last year, Easy A. The Help is currently at 66 on Metacritic with 2/22 over 80. RT is 70’s in % and averages.
THR/NYT: 60, Ebert 75, Variety/LAT 80, Travers 88. Pretty much all of them say that Davis and Spencer are the standouts, but generally also enjoy Stone and Chastain. Howard alternately is very good or too much. Out of movies released in theaters, I guess this movie triples the # of likely acting contenders (with Plummer).
The movie seems too ensemble-y for Emma Stone to have a good shot at an Oscar nom, and her character is less interesting and baity, and Davis has the voiceovers, but perhaps Globe.
It’s looking like Emma Stone’s most recent projects, The Help and CSL, will have reviews that are positive – borderline between B- and C+ – but not as good as the one that got her a Globe nom last year, Easy A. The Help is currently at 66 on Metacritic with 2/22 over 80. RT is 70’s in % and averages.
THR/NYT: 60, Ebert 75, Variety/LAT 80, Travers 88. Pretty much all of them say that Davis and Spencer are the standouts, but generally also enjoy Stone and Chastain. Howard alternately is very good or too much. Out of movies released in theaters, I guess this movie triples the # of likely acting contenders (with Plummer).
It seems like, more often then not, when an ensemble piece comes along and makes us ask, “Who’s the lead?”, the answer ends up being “There isn’t one.”
The Supporting categories are much harder to forecast from this far out, because sight-unseen, you don’t know who’s going to emerge from smaller roles and steal the buzz. That said, here are ten that I’m keeping my eye on for Supporting Actress:
Viola Davis in THE HELP (or EXTREMELY LOUD AND INCREDIBLY CLOSE)
Octavia Spencer in THE HELP
This category gets double nods like crazy, so I don’t see vote-splitting being too much of an issue. By the way their roles are described, I’m reminded of Helen Mirren (the slow burn) and Maggie Smith (the laughs) in GOSFORD PARK.
Sandra Bullock in EXTREMELY LOUD AND INCREDIBLY CLOSE
From what I’ve heard about the novel, Bullock’s role is not a lead, so I could see her being a threat here. Stephen Daldry is famously 3 for 3 on Directing nominations, but he’s also four for three on getting his actresses nominated. I’m not going to underestimate this team.
Jessica Chastain in TAKE SHELTER (or THE HELP, or THE DEBT, or CORIOLANUS but probably not THE TREE OF LIFE)
Talk about a breakout year! With so much visibility (the respectable kind), she’s a force to be reckoned with, to be sure. One of the 17 films she’s appearing in this year will stand out as her best shot, eventually. If I had to guess, I’d go with TAKE SHELTER. Supporting actresses as supportive wives, and all.
Marion Cotillard in MIDNIGHT IN PARIS
Despite the love that has been showered on this film already, I think we’re going to be a bit surprised by how much AMPAS goes for it. (We’re always reminded that the Academy are gray of hair, after all, and I saw a lot of that at my screening.) Cotillard is the standout of the cast–along with Owen Wilson, perhaps, but his performance doesn’t seem as Oscarish–and the emotional vertex of the film.
Judi Dench in J. EDGAR (or MY WEEK WITH MARILYN)
As Sijmen of the famous Oscar Experiment will tell you, “Don’t Underestimate Judi Dench” was an ironclad rule from 1998 to 2001 or so. While it has softened a bit, it’s still a good rule to live by. Like others on this list, she has more than one role on offer (including one in JANE EYRE that I didn’t mention because I figured the buzz would be heard by now), but J. EDGAR seems likeliest. Her Mama Hoover seems likely to take on a sharp MANCHURIAN CANDIDATE tang, and that sounds like Oscar to me.
Judy Greer in THE DESCENDANTS
I can’t imagine George Clooney being the only acting nominee from this film. As we saw in MICHAEL CLAYTON and UP IN THE AIR, Clooney is a solid, effective leading man who is not afraid to let his co-stars have their big moments. One of the actresses playing his character’s daughters may emerge as a contender, but for now, I’m saying Greer.
Bailee Madison in DON’T BE AFRAID OF THE DARK
It seems like every time a clip from DON’T BE AFRAID is posted around here, it’s greeted by a chorus of comments about Madison’s performance. Genre bias is a factor, to be sure, but if she’s as impressive as those clips made it seem (and we don’t have to wait long to find out), that obstacle can be overcome.
Naomi Watts in J. EDGAR
This is one of those performances I’m dying to see just because the real-life person is so fascinating to me. People have been calling Naomi Watts “overdue” for a long time, so if the film and her performance make an impact on critics, she’d quickly become a top contender for the win in my book.
Kate Winslet in CARNAGE
So, there are four characters in this movie, yeah? And four acting categories. You’ve got to figure Sony will push for one in each. Yeah, it’ll probably be BS, as they’ll all be leads by any standard definition, but there it is. I haven’t seen the play, but I think I read somewhere that Foster’s role will seem more “lead.” Correct me if I’m wrong, though.
It seems like, more often then not, when an ensemble piece comes along and makes us ask, “Who’s the lead?”, the answer ends up being “There isn’t one.”
The Supporting categories are much harder to forecast from this far out, because sight-unseen, you don’t know who’s going to emerge from smaller roles and steal the buzz. That said, here are ten that I’m keeping my eye on for Supporting Actress:
Viola Davis in THE HELP (or EXTREMELY LOUD AND INCREDIBLY CLOSE)
Octavia Spencer in THE HELP
This category gets double nods like crazy, so I don’t see vote-splitting being too much of an issue. By the way their roles are described, I’m reminded of Helen Mirren (the slow burn) and Maggie Smith (the laughs) in GOSFORD PARK.
Sandra Bullock in EXTREMELY LOUD AND INCREDIBLY CLOSE
From what I’ve heard about the novel, Bullock’s role is not a lead, so I could see her being a threat here. Stephen Daldry is famously 3 for 3 on Directing nominations, but he’s also four for three on getting his actresses nominated. I’m not going to underestimate this team.
Jessica Chastain in TAKE SHELTER (or THE HELP, or THE DEBT, or CORIOLANUS but probably not THE TREE OF LIFE)
Talk about a breakout year! With so much visibility (the respectable kind), she’s a force to be reckoned with, to be sure. One of the 17 films she’s appearing in this year will stand out as her best shot, eventually. If I had to guess, I’d go with TAKE SHELTER. Supporting actresses as supportive wives, and all.
Marion Cotillard in MIDNIGHT IN PARIS
Despite the love that has been showered on this film already, I think we’re going to be a bit surprised by how much AMPAS goes for it. (We’re always reminded that the Academy are gray of hair, after all, and I saw a lot of that at my screening.) Cotillard is the standout of the cast–along with Owen Wilson, perhaps, but his performance doesn’t seem as Oscarish–and the emotional vertex of the film.
Judi Dench in J. EDGAR (or MY WEEK WITH MARILYN)
As Sijmen of the famous Oscar Experiment will tell you, “Don’t Underestimate Judi Dench” was an ironclad rule from 1998 to 2001 or so. While it has softened a bit, it’s still a good rule to live by. Like others on this list, she has more than one role on offer (including one in JANE EYRE that I didn’t mention because I figured the buzz would be heard by now), but J. EDGAR seems likeliest. Her Mama Hoover seems likely to take on a sharp MANCHURIAN CANDIDATE tang, and that sounds like Oscar to me.
Judy Greer in THE DESCENDANTS
I can’t imagine George Clooney being the only acting nominee from this film. As we saw in MICHAEL CLAYTON and UP IN THE AIR, Clooney is a solid, effective leading man who is not afraid to let his co-stars have their big moments. One of the actresses playing his character’s daughters may emerge as a contender, but for now, I’m saying Greer.
Bailee Madison in DON’T BE AFRAID OF THE DARK
It seems like every time a clip from DON’T BE AFRAID is posted around here, it’s greeted by a chorus of comments about Madison’s performance. Genre bias is a factor, to be sure, but if she’s as impressive as those clips made it seem (and we don’t have to wait long to find out), that obstacle can be overcome.
Naomi Watts in J. EDGAR
This is one of those performances I’m dying to see just because the real-life person is so fascinating to me. People have been calling Naomi Watts “overdue” for a long time, so if the film and her performance make an impact on critics, she’d quickly become a top contender for the win in my book.
Kate Winslet in CARNAGE
So, there are four characters in this movie, yeah? And four acting categories. You’ve got to figure Sony will push for one in each. Yeah, it’ll probably be BS, as they’ll all be leads by any standard definition, but there it is. I haven’t seen the play, but I think I read somewhere that Foster’s role will seem more “lead.” Correct me if I’m wrong, though.
@alan of montreal:
Thank you for this link – the article is spot on. Stockett and her editor are either lazy, arrogant or both – since they are otherwise described as intelligent. Another historical error Stockett made was the method in which Medgar Evers was assassinated. Stockett said 3 times, once on her book as well as on her book tours, that Evers was bludgeoned to death. In truth, he was murdered by being shot in the back. Didn’t Stockett hear about the guity verdict of Evers’ murderer in 2004?
As a longtime resident of Jackson and part of a prominent Jackson, Mississippi family, she should have known more about Evers given that on June 28, 1992, the city of Jackson, Mississippi erected a statue in honor of Evers. All of Delta Drive (part of U.S. Highway 49) in Jackson was renamed in Evers’ honor, and in December 2004, the Jackson City Council changed the name of the city’s airport to Jackson-Evers International Airport in honor of Evers..
In October 2009, Navy Secretary Ray Mabus, a former Mississippi governor, announced that USNS Medgar Evers (T-AKE-13), a Lewis and Clark-class dry cargo ship, would be named after him.
@alan of montreal:
Thank you for this link – the article is spot on. Stockett and her editor are either lazy, arrogant or both – since they are otherwise described as intelligent. Another historical error Stockett made was the method in which Medgar Evers was assassinated. Stockett said 3 times, once on her book as well as on her book tours, that Evers was bludgeoned to death. In truth, he was murdered by being shot in the back. Didn’t Stockett hear about the guity verdict of Evers’ murderer in 2004?
As a longtime resident of Jackson and part of a prominent Jackson, Mississippi family, she should have known more about Evers given that on June 28, 1992, the city of Jackson, Mississippi erected a statue in honor of Evers. All of Delta Drive (part of U.S. Highway 49) in Jackson was renamed in Evers’ honor, and in December 2004, the Jackson City Council changed the name of the city’s airport to Jackson-Evers International Airport in honor of Evers..
In October 2009, Navy Secretary Ray Mabus, a former Mississippi governor, announced that USNS Medgar Evers (T-AKE-13), a Lewis and Clark-class dry cargo ship, would be named after him.
Reminds me of “The Secret Life of Bees”. Every performance was praised (Fanning, Latifah, Hudson, Keys, Okonedo, Bettany, Wilds, and Parker), yet most reviews mentioned that it was almost a shame that the white characters were needed in the story. It seems true, though. The relationship between the sisters and Hudson’s character was far more fascinating than anything involving Dakota, even if she remains amazing.
That said, I can hardly wait to see this!
Reminds me of “The Secret Life of Bees”. Every performance was praised (Fanning, Latifah, Hudson, Keys, Okonedo, Bettany, Wilds, and Parker), yet most reviews mentioned that it was almost a shame that the white characters were needed in the story. It seems true, though. The relationship between the sisters and Hudson’s character was far more fascinating than anything involving Dakota, even if she remains amazing.
That said, I can hardly wait to see this!
Never heard of The Help until I heard Viola Davis was making a movie of it; then read it in one night. The Help has good things going for it: a well-written, fast-paced story humor,: good characterization, women’s relationships and changing alliances, ways to be subversive. But it’s not literature, just another bestseller I’ll forget unless the movie is entirely memorable and corrects the seriously flawed book, or as an example of how crude racist tropes live on in publishing and Hollywood. I was most interested in what happened with Aibileen and Minny, scanning Skeeter’s chapters as a bridge. Viola Davis and Octavia Spencer should be nominated for Best Actress, and Emma Stone for Best Supporting Actress.
The first thing I thought when I finished the book was that the movie better not be about the white girl being put to the forefront and the two black women pushed to the back in supporting roles. I know plenty of people who are tired of movies that become about the white person than the real protagonist (see Blind Side, Biko, Mississippi Burning – white FBI agents as heroes!). I know plenty of people who love being able to tell our own story (see Bridesmaids, Something New).
I’ll reserve my response to the film until I’ve seen it. I’ll watch it twice on different days to see if I react emotionally and intellectually in the same way. I read the book only on reading that Viola Davis was starring in it. I know many of the actors on the ensemble and admire them greatly, and greatly support an all-woman ensemble. Notwithstanding their probable great performances, especially on Kris’ advance notice on the incontention site, the message that the movie puts across is problematic at best .
Never heard of The Help until I heard Viola Davis was making a movie of it; then read it in one night. The Help has good things going for it: a well-written, fast-paced story humor,: good characterization, women’s relationships and changing alliances, ways to be subversive. But it’s not literature, just another bestseller I’ll forget unless the movie is entirely memorable and corrects the seriously flawed book, or as an example of how crude racist tropes live on in publishing and Hollywood. I was most interested in what happened with Aibileen and Minny, scanning Skeeter’s chapters as a bridge. Viola Davis and Octavia Spencer should be nominated for Best Actress, and Emma Stone for Best Supporting Actress.
The first thing I thought when I finished the book was that the movie better not be about the white girl being put to the forefront and the two black women pushed to the back in supporting roles. I know plenty of people who are tired of movies that become about the white person than the real protagonist (see Blind Side, Biko, Mississippi Burning – white FBI agents as heroes!). I know plenty of people who love being able to tell our own story (see Bridesmaids, Something New).
I’ll reserve my response to the film until I’ve seen it. I’ll watch it twice on different days to see if I react emotionally and intellectually in the same way. I read the book only on reading that Viola Davis was starring in it. I know many of the actors on the ensemble and admire them greatly, and greatly support an all-woman ensemble. Notwithstanding their probable great performances, especially on Kris’ advance notice on the incontention site, the message that the movie puts across is problematic at best .
Here’s a rather scathing article about the book: http://www.theglobeandmail.com/news/arts/lynn-crosbie/bestseller-novel-the-help-needs-help-with-its-history-homework/article2120638/
Here’s a rather scathing article about the book: http://www.theglobeandmail.com/news/arts/lynn-crosbie/bestseller-novel-the-help-needs-help-with-its-history-homework/article2120638/
If they accepted Hailey Steinfeld as best supporting actress in TRUE GRIT, I can’t see any problems with Davis in THE HELP
If they accepted Hailey Steinfeld as best supporting actress in TRUE GRIT, I can’t see any problems with Davis in THE HELP
sasha do you think that emma stone is a candidate for best actress?
sasha do you think that emma stone is a candidate for best actress?
i think davis is a good actress and very hardworker, im glad she is gettin recgonition but i think the one who steals the show is going to be octavia…
emma stone seems to make the smart moves to become a good and respected actress, i definiteley should see her like the next sandra bullock or julia roberts but with better projects
i think davis is a good actress and very hardworker, im glad she is gettin recgonition but i think the one who steals the show is going to be octavia…
emma stone seems to make the smart moves to become a good and respected actress, i definiteley should see her like the next sandra bullock or julia roberts but with better projects
I should have added: Could it also be the difference between southern and northern black writers?
I should have added: Could it also be the difference between southern and northern black writers?
The trailer looks like it’s a campy, cheesy blend of The Color Purple, Mississippi Burning, and The Blind Side.
I mean that it looks like a hard, powerful movie about race (Color Purple and Mississippi) made easy to digest by white conservatives by adding the sickly imitation cheese sauce of The Blind Side on top of it, and thus ruining it.
The trailer looks like it’s a campy, cheesy blend of The Color Purple, Mississippi Burning, and The Blind Side.
I mean that it looks like a hard, powerful movie about race (Color Purple and Mississippi) made easy to digest by white conservatives by adding the sickly imitation cheese sauce of The Blind Side on top of it, and thus ruining it.
So by this point in history, black authors had been getting published for about 100 years, often with the help of white friends and/or white editors. So is this story more about the plight of a working-class black woman trying to get her work noticed?
So by this point in history, black authors had been getting published for about 100 years, often with the help of white friends and/or white editors. So is this story more about the plight of a working-class black woman trying to get her work noticed?
Sasha, did you like the score ? Thomas Newman should get an Oscar already, could he have a viable shot at it with ‘The Help’ ?
Sasha, did you like the score ? Thomas Newman should get an Oscar already, could he have a viable shot at it with ‘The Help’ ?
“What does Hollywood do with a revisionist fictional lead character, and potential best actress nominee like Skeeter, played by up and coming actress Emma Stone?
“A reluctant heroine whom the author, Kathryn Stockett admitted she created for her novel because:
“. . . she worried that readers wouldn’t trust her if she only wrote about black characters. ‘I just didn’t think that would ever be allowed to sit on the shelf,’ she said. “So I threw Skeeter in the mix and I felt a little better about it, because I was showing a white perspective as well.’
“And Stockett, while voicing Skeeter, clearly states in the novel that she ‘wasn’t out to change any laws . . . just attitudes’. Which goes along with the authors real life revelation during an audio interview:
“. . . this may sound ridiculous but I’m not criticizing the people that were living through those times and not questioning it. I’m just trying to examine it and also look at how far we’ve come.”
3:42 into the 10 minute audio interview with Steve Bertrand of Barnes and Noble’s Meet the Writers (no transcript available)
Stockett had already devalued the experiences of real African Americans under segregation. The author cavalierly explained her lack of research on the black culture and domestics themselves by stating:
“The voices of Aibileen and Minny came to me fairly easily once I got going,” she says. “I’d listened to the cadences and dialect of black Southerners most of my life, and I just played them back in my head.”
ugh…ugh…ugh.
http://acriticalreviewofthehelp.wordpress.com/2011/07/31/come-awards-time-what-will-hollywood-do-with-the-help/
“I think Macon D, who once regularly posted on his blog ‘Stuff White People do’ and identifies himself as a white male, said it best:
‘. . .I’m not surprised that it took moving away from Mississippi, in terms of both distance and time, for Kathryn Stockett to ‘question the situation down there,’ and I’m certainly glad she’s now ‘questioning’ it. Racist thought and behavior on the part of whites during the Jim Crow era was just the norm back then, so seeing the evil in that, let alone thoroughly resisting it, would likely be very difficult while living in the thick of it, and while enjoying the privileges of membership in the white club.
“. . . it seems implausible that someone like Skeeter, having been born and raised at that time in Mississippi, would be so completely outside of that norm, so different from other white people. And again, it does seem plausible that Stockett (and perhaps her editors) portrayed her that way so that white readers can more readily see themselves in Skeeter. In this sense, and others, this novel is thoroughly WHITE FRAMED entertainment, DESIGNED TO APPEASE, RATHER THAN CHALLENGE, THE OSTENSIBLY LIBERAL SENTIMENTS OF WHITE CONSUMERS. [my emphasis].
Which would explain a commentor on another blog observing that after the early screening of the film she’d just seen, some white moviegoers were hugging each other and crying. Upon seeing this display, her feelings were conflicted.
In the book Clinging to Mammy: The Faithful Slave in Twentieth-Century America, Cambridge: Harvard University Press, 2007 scholar and author Micki McElya writes, ***“so many white Americans have wished to live in a world in which African Americans are not angry over past and present injustices, a world in which white people were and are not complicit, in which the injustices themselves — of slavery, Jim Crow, and ongoing structural racism — seem not to exist at all.”***
So what does Hollywood do with a revisionist fictional lead character, and potential best actress nominee like Skeeter, played by up and coming actress Emma Stone?
A reluctant heroine whom the author, Kathryn Stockett admitted she created for her novel because:
“. . . she worried that readers wouldn’t trust her if she only wrote about black characters. “I just didn’t think that would ever be allowed to sit on the shelf,” she said. “So I threw Skeeter in the mix and I felt a little better about it, because I was showing a white perspective as well.”
And Stockett, while voicing Skeeter, clearly states in the novel that she “wasn’t out to change any laws . . . just attitudes”. Which goes along with the authors real life revelation during an audio interview:
“. . . this may sound ridiculous but I’m not criticizing the people that were living through those times and not questioning it. I’m just trying to examine it and also look at how far we’ve come.”
3:42 into the 10 minute audio interview with Steve Bertrand of Barnes and Noble’s Meet the Writers (no transcript available)
Stockett had already devalued the experiences of real African Americans under segregation. The author cavalierly explained her lack of research on the black culture and domestics themselves by stating:
“The voices of Aibileen and Minny came to me fairly easily once I got going,” she says. “I’d listened to the cadences and dialect of black Southerners most of my life, and I just played them back in my head.”
“What does Hollywood do with a revisionist fictional lead character, and potential best actress nominee like Skeeter, played by up and coming actress Emma Stone?
“A reluctant heroine whom the author, Kathryn Stockett admitted she created for her novel because:
“. . . she worried that readers wouldn’t trust her if she only wrote about black characters. ‘I just didn’t think that would ever be allowed to sit on the shelf,’ she said. “So I threw Skeeter in the mix and I felt a little better about it, because I was showing a white perspective as well.’
“And Stockett, while voicing Skeeter, clearly states in the novel that she ‘wasn’t out to change any laws . . . just attitudes’. Which goes along with the authors real life revelation during an audio interview:
“. . . this may sound ridiculous but I’m not criticizing the people that were living through those times and not questioning it. I’m just trying to examine it and also look at how far we’ve come.”
3:42 into the 10 minute audio interview with Steve Bertrand of Barnes and Noble’s Meet the Writers (no transcript available)
Stockett had already devalued the experiences of real African Americans under segregation. The author cavalierly explained her lack of research on the black culture and domestics themselves by stating:
“The voices of Aibileen and Minny came to me fairly easily once I got going,” she says. “I’d listened to the cadences and dialect of black Southerners most of my life, and I just played them back in my head.”
ugh…ugh…ugh.
http://acriticalreviewofthehelp.wordpress.com/2011/07/31/come-awards-time-what-will-hollywood-do-with-the-help/
“I think Macon D, who once regularly posted on his blog ‘Stuff White People do’ and identifies himself as a white male, said it best:
‘. . .I’m not surprised that it took moving away from Mississippi, in terms of both distance and time, for Kathryn Stockett to ‘question the situation down there,’ and I’m certainly glad she’s now ‘questioning’ it. Racist thought and behavior on the part of whites during the Jim Crow era was just the norm back then, so seeing the evil in that, let alone thoroughly resisting it, would likely be very difficult while living in the thick of it, and while enjoying the privileges of membership in the white club.
“. . . it seems implausible that someone like Skeeter, having been born and raised at that time in Mississippi, would be so completely outside of that norm, so different from other white people. And again, it does seem plausible that Stockett (and perhaps her editors) portrayed her that way so that white readers can more readily see themselves in Skeeter. In this sense, and others, this novel is thoroughly WHITE FRAMED entertainment, DESIGNED TO APPEASE, RATHER THAN CHALLENGE, THE OSTENSIBLY LIBERAL SENTIMENTS OF WHITE CONSUMERS. [my emphasis].
Which would explain a commentor on another blog observing that after the early screening of the film she’d just seen, some white moviegoers were hugging each other and crying. Upon seeing this display, her feelings were conflicted.
In the book Clinging to Mammy: The Faithful Slave in Twentieth-Century America, Cambridge: Harvard University Press, 2007 scholar and author Micki McElya writes, ***“so many white Americans have wished to live in a world in which African Americans are not angry over past and present injustices, a world in which white people were and are not complicit, in which the injustices themselves — of slavery, Jim Crow, and ongoing structural racism — seem not to exist at all.”***
So what does Hollywood do with a revisionist fictional lead character, and potential best actress nominee like Skeeter, played by up and coming actress Emma Stone?
A reluctant heroine whom the author, Kathryn Stockett admitted she created for her novel because:
“. . . she worried that readers wouldn’t trust her if she only wrote about black characters. “I just didn’t think that would ever be allowed to sit on the shelf,” she said. “So I threw Skeeter in the mix and I felt a little better about it, because I was showing a white perspective as well.”
And Stockett, while voicing Skeeter, clearly states in the novel that she “wasn’t out to change any laws . . . just attitudes”. Which goes along with the authors real life revelation during an audio interview:
“. . . this may sound ridiculous but I’m not criticizing the people that were living through those times and not questioning it. I’m just trying to examine it and also look at how far we’ve come.”
3:42 into the 10 minute audio interview with Steve Bertrand of Barnes and Noble’s Meet the Writers (no transcript available)
Stockett had already devalued the experiences of real African Americans under segregation. The author cavalierly explained her lack of research on the black culture and domestics themselves by stating:
“The voices of Aibileen and Minny came to me fairly easily once I got going,” she says. “I’d listened to the cadences and dialect of black Southerners most of my life, and I just played them back in my head.”
Have you seen the different book covers and trailers for the U.S. vs. U.K.? http://www.facebook.com/l.php?u=http%3A%2F%2Facriticalreviewofthehelp.wordpress.com%2F2011%2F06%2F09%2Fclash-of-the-trailers%2F&h=qAQBB_CU9AQA8h2ma8UBNiPrjc7ms4T0_9eWPSsY9L9eH9Q
Pluses:
1. Viola Davis, Viola Davis, Viola Davis. (Is there a rule that black maids have to be ugly? See http://jezebel.com/5828199/viola-davis-on-the-backlash-to-playing-a-maid and current Entertainmenst Weekly.)
2. Octavia Spencer.
3. Cicely Tyson
4. Based on incontention’s Kris’ report, excellent women’s ensemble with superb performances..
I’ll l’ll list my ughs later.
In the meantime, the current Entertainment Weekly (with Viola Davis, Octavia Spencer and Emma Stone cover) has an op-ed, “THE TRUTH ABOUT THE CIVIL RIGHTS ERA,” by author Martha Southgate on why she can’t get on board The Help’s train, bestseller that it is, popular among some blacks as it is. It’s not up on ew.com’s website yet.
Excerpt:
“This isn’t the 1st time the civil rights movement has been framed this way fictitiously, especially on film. Most Hollywood civil rights movies features white characters central, sometimes nearly solo, roles. My favorite (not!) is Alan Parker’s Mississippi Burning, which gives us 2 white FBI agents as heroes of the movement. FBI agents! Given that J.Edgar Hoover did everything short of shooting Martin Luther King Jr. himself in order to damage or discredit the movement, that goes from troubling to appalling.”
OK, one ugh:
One thing that didn’t sit well with me was that Skeeter seemed so cavalier and totally oblivious to the dangers to which she put Aibileen, then Minny, then the other black women at risk. I hope the movie addresses this. We’re talking real life and death here. Famous civil rights leaders were being shot, people were disappeared, it wasn’t safe for black people to be seen with white people except in their domestic capacity.”
Notwithstanding the wonderful ensemble’s performance Kris saw, or how beautiful the production and music may be, the male co-host said of indiewire’s Shadow and Act (On the Cinema of the African Diaspora) blacks are facing The Help with trepidation. He’d read that the screenings were mostly to audiences of white women and that their response was overwhelmingly positive – a flag for him that the movie made them feel good by allowing them to detach themselves from the issue of racism today and the past.
Have you seen the different book covers and trailers for the U.S. vs. U.K.? http://www.facebook.com/l.php?u=http%3A%2F%2Facriticalreviewofthehelp.wordpress.com%2F2011%2F06%2F09%2Fclash-of-the-trailers%2F&h=qAQBB_CU9AQA8h2ma8UBNiPrjc7ms4T0_9eWPSsY9L9eH9Q
Pluses:
1. Viola Davis, Viola Davis, Viola Davis. (Is there a rule that black maids have to be ugly? See http://jezebel.com/5828199/viola-davis-on-the-backlash-to-playing-a-maid and current Entertainmenst Weekly.)
2. Octavia Spencer.
3. Cicely Tyson
4. Based on incontention’s Kris’ report, excellent women’s ensemble with superb performances..
I’ll l’ll list my ughs later.
In the meantime, the current Entertainment Weekly (with Viola Davis, Octavia Spencer and Emma Stone cover) has an op-ed, “THE TRUTH ABOUT THE CIVIL RIGHTS ERA,” by author Martha Southgate on why she can’t get on board The Help’s train, bestseller that it is, popular among some blacks as it is. It’s not up on ew.com’s website yet.
Excerpt:
“This isn’t the 1st time the civil rights movement has been framed this way fictitiously, especially on film. Most Hollywood civil rights movies features white characters central, sometimes nearly solo, roles. My favorite (not!) is Alan Parker’s Mississippi Burning, which gives us 2 white FBI agents as heroes of the movement. FBI agents! Given that J.Edgar Hoover did everything short of shooting Martin Luther King Jr. himself in order to damage or discredit the movement, that goes from troubling to appalling.”
OK, one ugh:
One thing that didn’t sit well with me was that Skeeter seemed so cavalier and totally oblivious to the dangers to which she put Aibileen, then Minny, then the other black women at risk. I hope the movie addresses this. We’re talking real life and death here. Famous civil rights leaders were being shot, people were disappeared, it wasn’t safe for black people to be seen with white people except in their domestic capacity.”
Notwithstanding the wonderful ensemble’s performance Kris saw, or how beautiful the production and music may be, the male co-host said of indiewire’s Shadow and Act (On the Cinema of the African Diaspora) blacks are facing The Help with trepidation. He’d read that the screenings were mostly to audiences of white women and that their response was overwhelmingly positive – a flag for him that the movie made them feel good by allowing them to detach themselves from the issue of racism today and the past.
“Oscar loves him the dumb blonde, sexually free types”
He does? For Best Actress, you have to go back to 1950, with Judy Holiday for Born Yesterday to find that type. In that same time span, only two won for Supporting: Mira Sorvino (Mighty Aphrodite) and Goldie Hawn (Cactus Flower). I love that character type, and it’s hard to do well, but Oscar doesn’t seem to notice much.
“Oscar loves him the dumb blonde, sexually free types”
He does? For Best Actress, you have to go back to 1950, with Judy Holiday for Born Yesterday to find that type. In that same time span, only two won for Supporting: Mira Sorvino (Mighty Aphrodite) and Goldie Hawn (Cactus Flower). I love that character type, and it’s hard to do well, but Oscar doesn’t seem to notice much.
In my heart of hearts, I know Viola will carry home the Oscar eventually in the future. If only they’ll do the film version of Fences.
In my heart of hearts, I know Viola will carry home the Oscar eventually in the future. If only they’ll do the film version of Fences.
It’s nice to see a bestseller actually getting the proper movie-treatment. I’m also glad to to see Meryl Streep putting her industry-power to good use : I remember when she gave a lovely shout-out to Davis 2 years ago when she won BFCA (or SAG? I don’t remember) and in her acceptance speech, urged studio heads to give Viola Davis a movie already. She usually gets the supporting treatment and the “best friend” kind of roles and that’s a huge waste of time considering how remarkably talented she is. So I’m glad the industry took notice and listened to Streep, now Davis had the chance to REALLY shine.
As far as the Oscars go, I think there will be a ‘Prada’ situation in the lead category : the younger co-lead with the less meaty role will be overshadowed by the previously nominated, highly acclaimed veteran actress.
BUT
If they go for the win and settle for supporting, Davis could go all the way AND Stone might get a lead nomination after all, I mean…she IS the next big thing. She already had a critically acclaimed BO-hit (Crazy Stupid Love) and this one will do well, too…and next year she will probably – officially – explode with the Spiderman-reboot. It could be a prettywomanesque nomination this year.
Though there could be two nominations in the best supporting actress category (Spencer and Chastain), I think former will cancel Chastain out…although considering the relationship of these two characters, I would love to see both of them make it.
By the way, I think it’s worth mentioning that even if Jessica Chastain won’t get a nod for this, she has PLENTY of other options this year :
The Tree of Life has already won Palme d’Or and could get her a supporting nod
The Help seems like a potentially very popular crowdpleaser – once again, great notices for her
The Debt won’t be a contender, but she did get some good ink for it in Toronto last year
Coriolanus was a big hit at the Berlin Film Festival
Take Shelter was a hit at the Cannes Film Festival AND Sundance
Wilde Salome AND Texas Killing Fields will premiere at the Venice Film Festival
The Wettest County in the World is expected to be platformed for Oscar and released in early 2012 + Weinstein-push
Yes, that’s 8 (!) films for 2011. Busy gal…and considering she has had at least one film at every big festival since last year’s Toronto, she became the ultimate festival “it-girl”… that could be an interesting piece/angle, Sasha !
2010 Toronto – The Debt
2011 Sundance – Take Shelter
2011 Berlin – Coriolanus
2011 Cannes – The Tree of Life, Take Shelter
2011 Venice – Wilde Salome, Texas Killing Fields
2011 Toronto – Coriolanus, Take Shelter
Full circle…impressive!
It’s nice to see a bestseller actually getting the proper movie-treatment. I’m also glad to to see Meryl Streep putting her industry-power to good use : I remember when she gave a lovely shout-out to Davis 2 years ago when she won BFCA (or SAG? I don’t remember) and in her acceptance speech, urged studio heads to give Viola Davis a movie already. She usually gets the supporting treatment and the “best friend” kind of roles and that’s a huge waste of time considering how remarkably talented she is. So I’m glad the industry took notice and listened to Streep, now Davis had the chance to REALLY shine.
As far as the Oscars go, I think there will be a ‘Prada’ situation in the lead category : the younger co-lead with the less meaty role will be overshadowed by the previously nominated, highly acclaimed veteran actress.
BUT
If they go for the win and settle for supporting, Davis could go all the way AND Stone might get a lead nomination after all, I mean…she IS the next big thing. She already had a critically acclaimed BO-hit (Crazy Stupid Love) and this one will do well, too…and next year she will probably – officially – explode with the Spiderman-reboot. It could be a prettywomanesque nomination this year.
Though there could be two nominations in the best supporting actress category (Spencer and Chastain), I think former will cancel Chastain out…although considering the relationship of these two characters, I would love to see both of them make it.
By the way, I think it’s worth mentioning that even if Jessica Chastain won’t get a nod for this, she has PLENTY of other options this year :
The Tree of Life has already won Palme d’Or and could get her a supporting nod
The Help seems like a potentially very popular crowdpleaser – once again, great notices for her
The Debt won’t be a contender, but she did get some good ink for it in Toronto last year
Coriolanus was a big hit at the Berlin Film Festival
Take Shelter was a hit at the Cannes Film Festival AND Sundance
Wilde Salome AND Texas Killing Fields will premiere at the Venice Film Festival
The Wettest County in the World is expected to be platformed for Oscar and released in early 2012 + Weinstein-push
Yes, that’s 8 (!) films for 2011. Busy gal…and considering she has had at least one film at every big festival since last year’s Toronto, she became the ultimate festival “it-girl”… that could be an interesting piece/angle, Sasha !
2010 Toronto – The Debt
2011 Sundance – Take Shelter
2011 Berlin – Coriolanus
2011 Cannes – The Tree of Life, Take Shelter
2011 Venice – Wilde Salome, Texas Killing Fields
2011 Toronto – Coriolanus, Take Shelter
Full circle…impressive!
This movie’s actually great? I’m surprised, it looked terribly cliched. I guess I’ll have to check it out now.
How well do you think it will do at the box office, Sasha?
This movie’s actually great? I’m surprised, it looked terribly cliched. I guess I’ll have to check it out now.
How well do you think it will do at the box office, Sasha?
Since we’re jumping right in and jumping the gun as it were, from my pesrpective, it seems like the magnificent Viola Davis is splitting the reviews so far with her co-star Ms. Spencer. Could split the AMPAS votes, too, between the two, and ends up….no one is nominated.
Question is – Will they run Viola as lead? It’s a weak year all ’round for actresses so far and that goes for both categories…But isn’t Bryce Dallas-Howard somehow involved with the producing of this? And perhaps also her father? The Howard family is the innest of the “in” in Hollyw’d circles.
Only means that Academy members will very likely choose to watch this one as a screener or at a screening or just whatever. Unfortunately, the time warp this film seems to inhabit is the one AMPAS inhabits, too. For the most part.
I’ve seen the previews for this like a gazillion times in theaters and on TV. They’re really pushing it.
And Viola Davis just won the Tony for Best Actress for “Fences.” She’s a powerful, great, great actress. And her personal story…OMG! Won’t go into it here, but she’s overcome more obstacles than just about anybody in this conversation.
It’ll be difficult to ignore or forget her. AND she’s been previously nominated. For “Doubt.”
Since we’re jumping right in and jumping the gun as it were, from my pesrpective, it seems like the magnificent Viola Davis is splitting the reviews so far with her co-star Ms. Spencer. Could split the AMPAS votes, too, between the two, and ends up….no one is nominated.
Question is – Will they run Viola as lead? It’s a weak year all ’round for actresses so far and that goes for both categories…But isn’t Bryce Dallas-Howard somehow involved with the producing of this? And perhaps also her father? The Howard family is the innest of the “in” in Hollyw’d circles.
Only means that Academy members will very likely choose to watch this one as a screener or at a screening or just whatever. Unfortunately, the time warp this film seems to inhabit is the one AMPAS inhabits, too. For the most part.
I’ve seen the previews for this like a gazillion times in theaters and on TV. They’re really pushing it.
And Viola Davis just won the Tony for Best Actress for “Fences.” She’s a powerful, great, great actress. And her personal story…OMG! Won’t go into it here, but she’s overcome more obstacles than just about anybody in this conversation.
It’ll be difficult to ignore or forget her. AND she’s been previously nominated. For “Doubt.”
I think some of the criticisms are well noted/articulated, but I think one is a bit unfair. The film actually gives more of a voice to Aibileen than the novel does: in Stockett’s novel, the voice over is divided between Skeeter, Aibileen, and Minny. Since the film privileges Aibileen’s narration, it certainly grants her more agency than the novel. (The ending also improves upon the novel in this regard.)
The notes on the performances are bang-on though: one of the year’s best ensembles!
I agree that Davis is the one to beat for Supporting Actress at this point, but I wouldn’t complain if Spencer or Chastain got a little love here and there as well.
I think some of the criticisms are well noted/articulated, but I think one is a bit unfair. The film actually gives more of a voice to Aibileen than the novel does: in Stockett’s novel, the voice over is divided between Skeeter, Aibileen, and Minny. Since the film privileges Aibileen’s narration, it certainly grants her more agency than the novel. (The ending also improves upon the novel in this regard.)
The notes on the performances are bang-on though: one of the year’s best ensembles!
I agree that Davis is the one to beat for Supporting Actress at this point, but I wouldn’t complain if Spencer or Chastain got a little love here and there as well.
Good piece, Sasha. Very well written. Although I can’t help but think that it may be a tad premature to lay the “one-to-beat” status on Davis at this point. Surely there’s gonna be like 4 other major performances springing up over the next 4 month to challenge her, right? I would hope so, honestly. Keeps things interesting.
Good piece, Sasha. Very well written. Although I can’t help but think that it may be a tad premature to lay the “one-to-beat” status on Davis at this point. Surely there’s gonna be like 4 other major performances springing up over the next 4 month to challenge her, right? I would hope so, honestly. Keeps things interesting.
I’m so thrilled that Emma Stone continues to do great work. She’ll receive her due from Oscar someday, I’m sure of it. This definitely seems like a movie to check out more and more.
I’m so thrilled that Emma Stone continues to do great work. She’ll receive her due from Oscar someday, I’m sure of it. This definitely seems like a movie to check out more and more.
Viola Davis is a wonderful actress. Meryl Streep has been expressing her admiration for her talent for years. I was always of the opinion that Viola Davis should have won the best supporting actress Oscar a couple years ago for her performance in “Doubt”. She moved me tremendously in that movie, and made an unsympathetic character totally sympathetic by the time the movie was finished.
I can’t wait to see this movie. And Viola Davis is the reason I’m seeing it.
Viola Davis is a wonderful actress. Meryl Streep has been expressing her admiration for her talent for years. I was always of the opinion that Viola Davis should have won the best supporting actress Oscar a couple years ago for her performance in “Doubt”. She moved me tremendously in that movie, and made an unsympathetic character totally sympathetic by the time the movie was finished.
I can’t wait to see this movie. And Viola Davis is the reason I’m seeing it.