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1. Runtime - 146minute
2. writers - Tate Taylor
3. Brief - Set in Mississippi during the 1960s, Skeeter (Stone) is a southern society girl who returns from college determined to become a writer, but turns her friends' lives -- and a Mississippi town -- upside down when she decides to interview the black women who have spent their lives taking care of prominent southern families. Aibileen (Davis), Skeeter's best friend's housekeeper, is the first to open up -- to the dismay of her friends in the tight-knit black community. Despite Skeeter's life-long friendships hanging in the balance, she and Aibileen continue their collaboration and soon more women come forward to tell their stories -- and as it turns out, they have a lot to say. Along the way, unlikely friendships are forged and a new sisterhood emerges, but not before everyone in town has a thing or two to say themselves when they become unwittingly -- and unwillingly -- caught up in the changing times
4. 
5. actor - Emma Stone, Bryce Dallas Howard
6. rating - 8,6 of 10 stars

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Jackson, Mississippi, in 1963 and the segregation is iron bound. A feisty young local journalist manqué is hired by the local newspaper to write a household advice column. This prompts in her an interest in the black maids who service the community of higher-class white housewives. A volcano erupts.
You see, the white folk live in them big white houses and the white womens they have dare hairs up in piles on top of they head and they demands that the silber be polished just proper for when they entertaining. The black folk lives in them shotgun houses in they own districk and eats fried chicken and rabbit stews all day. They need them maid jobs powerful bad because the menfolk, they don't make no money toiling at the mill.
I know. It sounds like an afternoon television special that should be shown in a civics class, but it's better than that. The first thing that impresses the viewer, after the initial exposition, is the presence of social borders that are more effective in keep people in and out than the Great Wall of China was at defeating Mongol raiders. The social world is divided into strict categories.
It's a binary universe. You are either "in" or "out." You are black or you are white. You are a man or you are a woman. You are respectable or you are white trash. There isn't much in between. (Poor Truman Capote.) And within each of these socially constructed categories, there is an intense sense of schedule, of the proper time to do things in the proper way, the time for politesse, the time for slap downs. The heroine, the would-be writer, is an affable and outspoken redhead with frizzly hair, given to wearing Mexican shoes and not yet married, although she's in her twenties. Her mother, Allison Janney, nervously asks her, Honey, it's past your time and you have no boy friends. Tell me, have you ever had any, um, unnatural feelings? Like feeling towards girls? That's scheduling for you.
And here's social class. A naive but pretty and friendly young blond, Jessica Chastain, moves into town, drinks too much, wears revealing gowns, speaks a little too freely, and can't cook anything but corn pone. When she shows up with a covered dish at a party by the local doyen from etiquette hell, nobody answers the door. They hide from her view behind the furniture and speak in whispers. As one of the well-groomed guests observes, she's "white trash."
Well, let us not run out of space by going on too long about the keenly observed characters and plot, which is weakened only in the last quarter or so, when everyone winds up happy except the witch. The witch's performance is splendid, by the way, but then everyone involved gives an unusually tuned performance. The editor has caught Viola Davis, as the principle maid, doing some marvelous acting.
Sadly, there is the hint of cloying stereotypes. Man, the director has gotten respectable Southern women and their cliques down pat, but he overdoes it with the nameless horde of carefully made-up butterflies mincing around, fluttering their delicate hands and turning every sentence into a melodic carol that ends in a question mark. And the African-Americans, while human and hardly saints, don't seem to have anything in the way of vices. They simply accept the insults and burn with unspoken resentment.
Of course, the central theme is the way maids are treated as robots and the way the robots take their revenge. The black maids receive what sociologists call "non-person treatment." They're not really there, and the exchanges are either functional ( Get me an iced tea. or perfunctory ( That's a mighty purdy dress, Mizz Scarlet. br> Those social borders are noisome. For one thing, they have two sides. After hundreds of years of being bulked up, they now operate to effectively keep categories comfortably apart. African-Americans in particular have a solidarity that other minorities can barely understand. It's asking a great deal of them to sacrifice that hard-earned group loyalty in the name of an equality that many of them see as a façade. Would you want your daughter to marry one? Neither side is especially anxious for that to happen.
I'm not even certain that the tendency to feel more comfortable with others who share your appearance and culture is so unnatural. Every big city has its Chinatown and Little Italy. And when "Planet of the Apes" was being filmed, the chimpanzees ate with the other chimpanzees, the gorillas ate with the gorillas, and the gibbons hung out with the gibbons.
Maybe it's better not to think about it. It's certainly EASIER not to.

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