(On Cable TV, March 2013) There’s a small stroke of genius in the way The Help takes a big social issue such as culturally-ingrained racism and looks at it from a very domestic perspective. Isn’t it a very real human tragedy to think that poor black mothers spent more time raising privileged white children than their own kids, helping perpetuate the established order? Doesn’t it drive the point home more effectively than broad social demonstrations? Isn’t Bryce Dallas Howard simply repulsive as the evil-in-a-sundress homemaker who considers “the help” as nothing more than disposable property? The Help is noteworthy in that it’s a female-driven film that managed to break the box-office: a welcome change of pace from the usual bang-bang entertainment that drives summer blockbuster crowds. A large part of this success has to be attributed to the way the film genially approaches its subject: Nearly all of the lead cast is female, and makes no apologies in the way it presents itself as a southern dramatic comedy of manners. While the film may earn a few knocks for presenting racism from a white perspective (as in: “Here’s the white girl to help those poor black people tell their story of woe”), there’s no doubt that outspoken matrons Octavia Spencer and Viola Davis earn the spotlight away from southern belles Emma Stone and Jessica Chastain. While younger male viewers may not appreciate the kind of storytelling that The Help is built on, it’s easy to see that the film is effective at what it does, and that the emotional weight of the film goes beyond its older and wiser target audience. As a result, The Help manages some serious cross-over impact, charming even audiences outside its marketing category. It’s sweet without being too cloying, and it’s got a few memorable stories in its bag of folk tales. It’s surprisingly effective at discussing the emotional side of child-rearing, and wrings some real emotion from its premise. The soundtrack is occasionally terrific, and the sense of southern culture (tempered by the real recognition of its racist enablement) is spectacular. It’s well worth a look, even for viewers who may not feel as if they material calls to them.