Aibileen Clark (Viola Davis) is a middle-aged black maid who has spent her life raising white children and has recently lost her only son. Minny Jackson (Octavia Spencer) is another black maid whose outspokenness has gotten her fired many times and built up a reputation for being a difficult employee, but she makes up for this with her phenomenal cooking skills.
Eugenia "Skeeter" Phelan (Emma Stone) is a young white woman who has recently moved back home after graduating from the University of Mississippi to find that her beloved childhood maid, Constantine, has quit while she was away. Skeeter is skeptical because she believes Constantine would have written.
Unlike her friends, who have all married and are having children, Skeeter is interested in a career as a writer. Her first job is as a "homemaker hints" columnist in the local paper, and she asks Aibileen for her help in answering domestic questions. Skeeter becomes uncomfortable with the attitude her friends have towards their "help", especially Hilly Holbrook (Bryce Dallas Howard) and her "Home Help Sanitation Initiative", a proposed bill to provide for separate bathrooms for black help. Amidst the era of discrimination based on color, Skeeter is one of the few who believe otherwise, and she decides to write a book, The Help, based on the lives of the maids who have spent their entire life taking care of white children.
The book is accepted for publication and is a success, much to the delight of Skeeter and the maids. She shares her royalties with each of the maids who contributed, and is offered a job with a publishing company in New York.
These three stories intertwine to explain how life in early-1960s Jackson, Mississippi revolves around "the help"; yet despite the intimate quarters in which whites and blacks live, there is always a certain distance between them because of racial lines. The plot device of a book about servants' lives throwing the upper class into a panicked reaction is similar to the 1942 Romance-Comedy The Affairs of Martha directed by Jules Dassin.
No comments:
Post a Comment