Considering the calibre of the cast, including the likes of Emma Stone and Jessica Chastain (two of my favourite actresses), it is shameful that I have only recently got round to watching Tate Taylor’s 2011 Best Picture nominee, The Help, based on Kathryn Stockett’s 2009 novel of the same name.

Jackson, Mississippi in the early 19060’s is a town of great division, segregation is paramount and black women are only good for one thing – serving the white high society women of Jackson. When college graduate Skeeter Phelan returns home, she turns the high society world of Jackson upside down when she decides to write a book from the point of the African American maids. With the law against her, Skeeter struggles to find any maids willing to talk until she finally convinces Aibileen Clark to tell her story.

As the fight for civil rights escalates and rages on across the country, more maids come forward, tired of staying silent about the injustices they face in their everyday life.

The film may have had some criticism for its ‘white saviour’ narrative but it still did pretty well on the awards circuit, particularly within the acting categories, and it’s easy to see why.

Despite receiving top billing on IMDB, Emma Stone’s role as “Skeeter” Phelan is similar to that of Jude Law’s Lemony Snicket, albeit a little more involved; her purpose is to drive the plot forward. Although that may be a little harsh on Stone, who never fails to shine, and in The Help she delivers a subdued but compassionate performance that is the bridge between the anger of the black maids and the ingrained racism of the high society ladies, led by the formidable Hilly Holbrook (Bryce Dallas Howard).

Howard is delightfully villainous in her portrayal of Hilly and although, at first, you may be able to argue that Hilly is merely a puppet of the social prejudices of the time, but the way she treats her mother (Sissy Spacek), Skeeter and high society outcast Celia Foote (Jessica Chastain) shows her for the vindictive and vicious social climber that she really is.

Jessica Chastain’s performance as social outsider Celia is a joy to behold, with the Best Supporting Actress nomination to prove it, giving us a character that appears shallow and dumb on the surface but evolves into an unexpected heroine with a heartbreaking story of her own. And where Skeeter is the voice of the changing times, Celia seems to demonstrate that, for a very small minority, colour is inconsequential.

Despite The Help‘s white saviour criticism, the strength of the film resides in the performances of Viola Davis and Octavia Spencer. Davis’ Aibileen Clark is a maternal and respectful figure that lavishes love and attention on the white children that she raises, yet there is an anger and resentment that bubbles under the surface of every obedient “m’am” offered to her employers.

Aibileen’s deference is juxtaposed by Octavia Spencer’s scrappy Minny Jackson, a fellow maid, and the best cook in the county, who finds solace in whatever little wins she can – no matter how shameful they may be. Although she provides much of the comedic relief, Minny’s relationship with Celia also delivers an emotional sublot that I wasn’t expecting. As much as I loved Chastain’s performance it is clear to see why Spencer walked away with the Oscar.

The Help moves along at a steady pace, although it does drag on occasion when it goes out of its way to make a point, but there is also a whole lot of heart and emotion with a little sprinkling of humour that makes it a thoroughly entertaining must watch film.