Réalisation:
Tate TaylorScénario:
Tate TaylorPhotographie:
Stephen GoldblattMusique:
Thomas NewmanActeurs·trices:
Emma Stone, Viola Davis, Bryce Dallas Howard, Octavia Spencer, Jessica Chastain, Ahna O'Reilly, Allison Janney, Anna Camp, Christopher Lowell (plus)VOD (4)
Résumés(1)
Dans la petite ville de Jackson, Mississippi, durant les années 60, trois femmes que tout devait opposer vont nouer une incroyable amitié. Elles sont liées par un projet secret qui les met toutes en danger, l'écriture d'un livre qui remet en cause les conventions sociales les plus sensibles de leur époque. De cette alliance improbable va naître une solidarité extraordinaire. À travers leur engagement, chacune va trouver le courage de bouleverser l'ordre établi, et d'affronter tous les habitants de la ville qui refusent le vent du changement... (Walt Disney Company France)
(plus)Vidéo (57)
Critiques (10)
Je déplore que chez nous, on ne soit pas capables de faire d'aussi beaux films sur notre passé. Le côté formel et académiquement parfait du cinéma hollywoodien ne sert ici que de vecteur pour la narration d'une histoire curieuse qui, surtout aujourd'hui avec Obama sur le trône américain, revêt une importance et une valeur historique énormes. Les acteurs sont parfaitement choisis, costumés et dirigés ; en fait, les personnages et le jeu des acteurs sont la cerise sur le gâteau. Pas besoin de crier, de dramatiser ou de plomber le spectateur. Pas besoin de chercher à être profond, vu que La Couleur des sentiments a déjà une profondeur intrinsèque par l'histoire qu'il dépeint. Et sa livraison subtile est remarquable. Je suis allé le voir plus par obligation que par intérêt, m’attendant à découvrir encore une fois un film « taillé sur mesure pour les Oscars, plein de femmes hystériques et de problèmes raciaux qui ne me concernent pas », mais pour finir, c’était l’un des meilleurs crus filmiques de l’année passée. Toute la salle avait les larmes aux yeux.
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Yeah, this is the kind of politically correct, high-minded Oscar safe bet where pretty much all the black characters can be compared to the greatest philosophers in history thanks to their human (popular) wisdom, but I can’t help it, I really liked it. In its 146 minutes, it has charm, is entertaining, and has good performances, direction and script. It was nice, but at the Oscars I will root for someone else.
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Kind in a black and white way and a little too obtrusive female drama that is occasionally ridiculously naive (there are three types of character; a cheerful black lady with a troubled past endowed with common sense, an affected xenophobic, upper-class white lady and men who we don’t see or, when we eventually do, then they invariably run away from their problems). It rides on the harmless, tearjerker wave, but never delves beneath the surface... We only take a look there in the opening scene and that is by far the best moment in the movie.
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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.
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An above-average soap opera that, through a sequence of lightweight episodes (not a single scene fully conveys how serious the situation in the South really was), capitalises on the myth of progressive young people who made the United States a better country in the 1960s. The story with a big heart is stuffed into a hermetically sealed bubble conveying the contemporary socio-political context to the trapped characters only through television and radio. The film refuses to take into account what happened in the real world, just as the white ladies refused to acknowledge their servants’ status as human beings enjoying full rights. The Help is even more consistent in denying the existence of bad, bad things than the similarly simplified Precious, unlike which The Help offers a likable white protagonist for the white audience to identify with. I welcome the effort to make a women’s film, though melodramatic only in moments and not in its overall structure, and I respect the need for a purgative spectacle that turns a humiliating defeat into a proud victory, but to accept the simplification of a serious historical subject into almost family entertainment with all of the ideological perversity concentrated into a single ultra-bitch strikes me as supremely conformist. 55%
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Annonces