The Help by Thomas Newman
A Tale of a Quiet Revolution
Set in Jackson, Mississippi, in 1963, The Help (2011) is a heartfelt drama that peels back the polished veneer of Southern hospitality to reveal the deep racial divisions simmering beneath. Based on Kathryn Stockett's bestselling novel, the film follows aspiring journalist Eugenia "Skeeter" Phelan as she secretly interviews black maids about their experiences working for white families in the American South. What begins as a writing project gradually becomes an act of quiet courage, exposing the everyday injustices that many preferred to ignore.
The setting of the film leaves an unmistakable mark on the film's musical identity. Mississippi occupies an almost mythical place in music history as the birthplace of the Delta blues—the cradle of American blues guitar and home to legendary musicians whose influence stretches from B.B. King to Muddy Waters and far beyond. Guitar music is woven into the cultural fabric of the state, so it's hardly surprising that the composer Thomas Newman chose to give the nylon-string classical guitar a prominent role in the important moments of the score.
The historical backdrop is crucial too. In 1963, Mississippi was one of the strongholds of the Jim Crow laws—a system of state and local legislation enforcing racial segregation long after the abolition of slavery. These laws dictated where Black Americans could eat, work, travel, go to school, and even which bathrooms they were allowed to use. While the Civil Rights Movement was gaining momentum across the country, challenging this social order in Mississippi required extraordinary bravery. And The Help’s musical exploration of that topic is deep and profound despite using simple tools, it is entirely new despite sounding ever so familiar.
One of the film's most memorable examples of the silent resistance comes from Aibileen Clark – the main protagonist. Throughout much of the story, Aibileen endures the casual cruelty and condescension of her employer, Hilly Holbrook's social circle, with remarkable dignity. Rather than confronting the white women with dramatic speeches or being vengeful, Aibileen's rebellion is quieter but no less powerful. She chooses to tell the truth, lending her voice to Skeeter's book despite the enormous personal risk. In a society built on forcing black women into silence, simply speaking honestly becomes an act of defiance. But that act does not happen instantly or easily. About 35 minutes into the film, when Skeeter first approaches Aibileen to ask her to contribute to the book, she faces refusal caused by fear – fear for life and for property. Aibileen says: ‘You not knowing that is what’s scaring me the most. Scare me more than Jim Crow.’
What follows is a scene of Aibileen quoting an excerpt from the Jim Crow laws. And it’s the first time we hear the brilliant guitar motif featured in the OST tracks ‘Jim Crow’ and ‘My Son’. The guitar is accompanied here by the harmonica, but the mood of the track is far from bluesy. Rather, you can hear a blend of fear and sadness, mixed with anger and determination to fight for change. The piece is written in the key of C minor and the first four notes being C-D-D-E♭. These first four notes are what sets the tone of the entirety of ‘Jim Crow’. Newman uses the warm, intimate sound of the classical guitar to evoke a distinctly Southern atmosphere. The guitar never shouts though – much like Aibileen herself, it speaks softly but carries profound emotional weight. The second time we hear the motif is during the garden party scene where the white ladies make a clear point to Aibileen that the Jim Crow laws should and will be followed. We can even see a brochure of the Mississippi laws sticking out from Skeeter’s bag. Unintentionally, Eugenia is becoming a spark that will eventually light up a revolution. One that will change people’s minds rather than a political power.
If you take a moment to reflect on that piece of music and wonder where the inspiration for it could have come from you might find yourself realizing that this is where Thomas Newman has brought out the big guns: Chopin's Revolutionary Étude.
Étude Op. 10, No. 12 is one of Frédéric Chopin's most famous and emotionally charged piano works. Composed in 1831, it is widely believed to reflect the composer's anguish over the failed uprising in his native Poland still being under the oppressive Russian occupation. Driven by a stormy, heroic melody, the étude expresses a profound emotional intensity, making it a powerful expression of defiance, grief, and patriotic spirit. Technically speaking, it is also in the key of C minor and the first four notes of the main melody are (also!) C-D-E♭-E♭. ‘Jim Crow’ and the Revolutionary Étude are basically the same motif. Newman has changed only one repeating note to create a new piece, familiar and loaded with similar emotions but yet new and depicting completely different attitudes. From intense, turbulent and full of rage Chopin to a theme of quiet resistance and underlying grief in just one note! That's why ‘Jim Crow’ is so catchy - it almost feels like you've heard it before. Which is true and that's what makes it so powerful.
The Help is a perfect example of my deep belief that whenever Thomas Newman touches the guitar, he turns it into gold.