The Help

Despite the fact that Skeeter's story openly appeals to emotions through its narrative, soundtrack, and gradually revealed small details, I am surprised by how straightforward it actually is. There is no hiding of the main theme within various subplots, no treading water. From the first significant scene, it delivers a clear message at a higher speed and easily maintains it for over two hours. Thanks to this, the triple catharsis feels even more impactful. Perhaps if there had been a more definitive, slightly more fateful conclusion, I would have been completely satisfied. In that case, I felt that I could have handled an additional five minutes of voiceover in a slightly distant future during the end credits. Nevertheless, The Help has won me over not only with its storytelling power but also with its flawless casting, even in the smallest roles. (20/01/2012)

A must-see feel-good movie about racial issues in upper middle-class USA in the 1960s. Paradoxically, the most black and white is the dosage of emotions, which is sometimes too simplistic and for effect – the vast majority of whites are superficial scumbags and the vast majority of blacks are good and model workers. But if you overlook this creative vice of pigeonholing characters in an otherwise interesting story, you get a number of scenes with a huge range of emotions that can grab you by the heart and move you appropriately. An intense viewing experience, a stimulating Oscar-winning film with a stellar cast and deservedly positive reviews. (29/11/2022)

The Czech title is a diagnosis. Exactly: a black-and-white world, to the extent that if one wanted to nag, one could write something about political correctness shifting to inverted racism: white women are stupid, superficial, incapable of emotional and practical life. The black servants resemble a kind of super-ego - wise, kind, contemplative, parental, holding all the functions that their social "superiors" lack. It is also interesting in that those who are not "racists" in the film - aside from the main heroine - they are characters who are either enormously stupid (Celia) or sick (old Holbrooke), or absent (men, probably... some of them). Clearly, it is not the creative intent that Tate Taylor pursued godly goals, but as history teaches us - black-and-white worlds sometimes inadvertently subvert themselves, too much for clarity (see my favorite social realism). Black and white worlds also require a very conservative form, settled characters and a very limited ability to reflect on problems. This film does not reflect the essence of racism, but rather the simplified effort of the current "white" civilization to name old wrongs in a cultured way. There is no doubt that if this phenomenon were simplified to the level portrayed in Taylor's film, it would have been resolved long ago. But I take The Help as it is: at its core, a pleasant, cultivated tale of the battle between good and evil, surrounded by something from the grandeur of our grandmothers' wisdom and arthritic sentiment. Thanks to the episode with shit, the effort for a little rougher moments and a quite pleasant pace, I give it a star more than the whiny sentimental The Descendants. At their core, however, these are completely identical types of films. Designed for self-redeeming emotion and numb forgetfulness. A cultural symptom. (22/01/2012)

When I watched the movie "Black and White World," I wondered how Americans perceive it. I am sure they see it as a drama that depicts a story, but do they realize that this is about their parents, or maybe even themselves? Are they capable of acknowledging that in their relentless freedom they were actually quite nasty and despicable? A nation that is so proud of itself understood equality 40 years ago, yet in some states, they still reject it. But to reassure us that they are progressive, they elect a black - pardon, African American - president, who is still, however, a mixed race. Sometimes I think how great it would be to live in America, but sometimes this idea deeply repulses me. Everything has its merits, but the story of the black women, who are no worse than any of us - and perhaps even better - is truly a powerful testimony that manages not to get lost in the swamp of pathos. The outstanding performances of the actors were rightfully awarded an Oscar or at least a nomination. More: http://www.filmovy-denik.cz/2012/04/diar-milovnika-filmu-c-0003-eastwood.html (14/02/2013)

It's not as unequivocally great as, say, Spielberg's The Color Purple, but it's more than good enough. And not black and white at all. The script artfully mixes poignant stories with sensitive humor and doesn't need to show violence and other atrocities (which it certainly could have shown) to tell us what it wants to tell us. Moreover, it is not only about the theme of different skin colors, but also a pretty good critique of interpersonal and family relationships... You almost get the feeling that this film has everything. Including the somewhat bitter ending, which is even harsher in the book (and should have been in the film, see the omitted scenes on the DVD). Both of the main black actresses were amazing, and I really liked Emma Stone too, but I was absolutely thrilled with Jessica Chastain! The story of her uniquely acted character, about whom I didn't know what to think at first, ended up impressing me the most. Two hours and twenty minutes passed by like an hour and a half. (04/08/2013)