Introduction
The ideas of social inequality and class struggle, manifested through the oppression of vulnerable populations, have always occupied an important place in cinematography and have been of interest to the public due to exciting plots. One recent example of this genre is The Help, directed by Tate Taylor and released in 2011. The events occur in the small town of Jackson in the American South in the 1960s.
Young Skeeter has just graduated from university and returned home, where she dreams of becoming a writer and breaking out into the big world. However, for a decent girl from the South, it is not appropriate to indulge in such stupid illusions since the social order of that time implied the desire to marry well and take care of the house. Wise Aibileen is thirty years older than Skeeter; she has been serving in white houses all her life, has nursed seventeen children, and has not expected anything from life for a long time. The reason is that her heart has been broken after the death of her only son.
Minny, another black character, is the best cook in all of Jackson, and she is also the cockiest maid in the town, whose sharp tongue has already done her a disservice more than once. Two black maids and an inexperienced white girl have one thing in common – a heightened sense of justice and a desire to change the order of things. Countering male chauvinism, striving to prove the equality of the black population, and emphasizing that not all white people of that era demonstrated racism toward African Americans are the key ideas of The Help.
Countering Male Chauvinism
The plot of The Help emphasizes the theme of the fight against male chauvinism of the mid-20th century as one of the existing problems that the characters face. The desire to dominate and demonstrate power is expressed in total control, disrespect for the interests of women, and unwillingness to accept their rights as an integral attribute of a democratic society. These prejudices, in turn, lead to racist sentiments and bias. Honeycutt describes men’s behavior and notes that “the chauvinism they display toward their wives or girlfriends sets up a chain reaction where the white women take their insecurities and inadequacies out on the black help.”
As a result, one may observe that gender inequality is a direct prerequisite for racial tensions. The chain of vulnerabilities that is shown in The Help shows that black women were in the most vulnerable state. Even the white Skeeter, who is in a more privileged position, is under gender pressure. The unspoken rule of becoming an obedient housewife imposes on her social obligations contrary to her true desires. As Honeycutt argues, men’s attempt to rule the world and, at the same time, their inability to establish a life effectively testify to their weakness rather than strength. Therefore, the topic of challenging male dominance can be traced in the film as a significant social issue.
Fight for Black Equality
The desire to demonstrate the equal status of the Black community by ridiculing the individual behavior of white citizens is another vital thought of The Help. Dargis raises the idea that the African American community, with its centuries of hardship and regular oppression, deserves substantially better treatment. However, looking at Jackson’s white citizens’ way of life, one may notice opposing positions. Dargis states, “The movie is about ironing out differences and letting go of the past and anger.“
Nonetheless, the idea is idealized, making the situation more complex and challenging for black citizens. African-American maids clean the houses of whites and raise their children while being subjected to obvious psychological pressure and humiliation. Dargis emphasizes that such an order is at least strange in the context of the existing historical contradictions.
Having got rid of open slavery, American society continued to perceive the African American population as second-class people, which is unacceptable, especially given the proximity. Moreover, the idea of being controlled by one gender or social class as a whole is erroneous and cannot be accepted as an adequate dogma. Thus, Skeeter’s rebellious attitude and her friendship with the African-American maids demonstrate the unwillingness of a young and educated white girl to put up with racial inequality.
Racism as a Social Relic
Skeeter’s reluctance to accept the prevailing racist sentiment underscores the message of The Help that not all white citizens are willing to share the bias and prejudice that characterize the majority. Using the example of a young white girl, the director shows that even a little resistance can be valuable and help one or more people believe in themselves. In his analysis, Goldberg remarks that “not all southern white people in 1960s Jackson, Mississippi are vile racists,“ and this thesis is the core of the film in question.
From a social perspective, the manifestation of racism is seen as a relic that does not carry any cultural value and is a mistake, but not a historical legacy. Nevertheless, not all people of that era understood and accepted this. Unlike the submissive Aibileen, the wayward and daring Minny is not ready to put up with existing prejudices, demonstrating in every possible way a rebellious spirit and courage atypical for her community.
It is this combination of audacity and submissiveness that shows that, already in the 1960s, racism was to be seen as nothing more than a relic that worsened the social order rather than maintained it. As Goldberg argues, for some, the desire to live by finding one’s place is a privilege, and the reason for this is the existing racial inequality. Therefore, condemning the existing social moods through the characters’ vivid images and juxtaposing two positions is a successful decision.
Conclusion
The Help showcases the acute social challenges of countering male chauvinism, fighting inequality, and striving to counteract racist sentiment at the individual level, demonstrating the characteristic American society of the 1960s. The film’s plot shows one person’s attempt to take real steps toward positive changes, which, in the end, demonstrates the value of drawing attention to the problems presented. Along with the movies of this genre, The Help presents vivid characters, and the contrast between them is a successful directorial decision that allows one to assess the scale of prejudice and bias. The women’s images are presented through distinctive features, but the aforementioned ideas of the struggle for justice unite them all. The making of such films is a significant activity in drawing the public’s attention to the persisting problem of racism and the need to counter such social relics.
Works Cited
Dargis, Manohla. “‘The Maids’ Now Have Their Say.” The New York Times, Web.
Goldberg, Matt. “The Help Review.” Collider, Web.
Honeycutt, Kirk. “‘The Help’: Film Review.” The Hollywood Reporter, Web.