AT THE END of the day, it is hard to see what The Help’s creators could have done that would have passed muster. Those ever seeking for Hollywood to “come to terms” with black people have developed such an imposing battery of objection tropes over the past forty years that I suspect they would reject even Raisin in the Sun as a bag of stereotypes if it were new…

Let’s try a version of The Help that might pass muster with its current critics. The maids would hold the white children at a polite arm’s length. Evers’ murder would be the dramatic focus. The white men behind it would be the main characters, while the maids’ women employers would be background figures. Also, to assuage a common strain in the criticisms, an obscure, very humble working-class black maid of modest education in 1963 would sense it plausible to pen a protest manuscript herself and send it to publishers, rather than rely on Skeeter to do the writing and submission.

To wit: The film that The Help should have been would be psychologically implausible, dramatically reductive, preachy, and not The Help at all. I cannot accept that this would be preferable for any reason to the solid, affecting Hollywood drama that I took in.