“She is an educated hipster with a point of view, and we get to see that point of view played out on screen,” Spencer tells the Grio.
“It’s an archetype I definitely haven’t played.” The truth of the ‘Magical Negro’ Over the past couple years, the Oscar winner has come into her own as an actress traversing the various ideals of black women in the American diaspora.
Skeeter takes a job writing a domestic advice column for the local paper, but because her family has had maid her whole life, she doesn’t know the first thing about housekeeping.
Skeeter can’t ask her beloved maid, Constantine (Cicely Tyson) for help with recipes and cleaning tips because her mother, Charlotte (Janney) suddenly fired her while Skeeter was away at college.
“I have the most eclectic, wackiest group of friends that there are, and that, I think, for the most part is most of the people I know. “We’re getting away from that now because young people are exposed to so much more via the Internet, via interaction with each other.” Should white directors be able to make black films? To a certain extent, Spencer inhabits the past and present of Hollywood, playing established, iconic and unprecedented roles, and to the praise of industry elites and moviegoers.
After decades working as a struggling actor, Tate Taylor found his big break in his mid-40s as the director of Oscar winner “The Help.” Now he’s at the helm of the adaptation of the best-selling novel “The Girl on the Train.” A steamy thriller in the vein of “Gone Girl,” the story centers on Rachel (Emily Blunt), an alcoholic whose divorce to Tom (Justin Theroux) has led her into a deep depression.
Opposed to her friends’ odious noblesse oblige, but too steeped in Southern gentility to call them out on their racism, Skeeter is an outlier passing as a Junior Leaguer. Skeeter enlists Aibileen’s domestic knowledge for her column, in the hope that the writing experience will entice a New York City publisher (Mary Steenburgen) into hiring her.
Although from the same social class, Skeeter is clearly not one of these women: young, entitled hens with Junior League memberships and no ambitions beyond being invited to the right luncheons and bridge games.Lushly produced, sunny drama about the dark reality of entrenched segregation and racial prejudice in early-’60s Jackson, Mississippi pits spoiled upper-middle-class mothers and housewives against the black female help they exploit and dehumanize., which opens today, is a blunt, poignant, yet charming look at the uneasy relationship between black maids and their white employers in the pre-Freedom Riders Deep South.When you have a book that everybody has read, and even those who read the book the first time kind of figured out it was Tom, I was like, "Okay, this is a thriller and this is what people want to see and that could be a big, big problem." Because your engine is exposed. I was drawn to this material because of the character work and how deeply it dove into regret and betrayal and manipulation.is nominated for best supporting actress for her role in The Help and the movie is also up for best picture.