RAISING HELEN

REVIEWED BY CHARITY BISHOP

Our rating: 4 out of 5

Because of: brief sensuality, thematic elements

Rated:

FOR BEST SUPPORTING ACTRESS, JOAN CUSACK.

Every once in awhile a truly heartwarming film comes along. Very few of them are about mothers, but Raising Helen manages to be both sweet and meaningful. It's almost an ode to motherhood, a thank you to mothers everywhere for sacrificing so much for their children. It's also a serious glimpse into the process of growing up. Our feelings leaving the theatre are a blend of warmth toward the mothers in our life, deeper understanding to their motivations and sacrifices, and the realization that motherhood is one of the most difficult but worthwhile things you can experience.

Helen Harris (Kate Hudson) has a perfect life. She's young, beloved by family and friends, and is rapidly moving through the ranks at New York's most elite modeling agency. Her name is on every list, her smile guarantees a positive return on every plea, and she brings home a big fat paycheck to her Manhattan apartment every week. Happily single but dating male models and taking long luxury trips abroad, Helen's life is about to change forever. Her older sister Lindsay and her husband have died in a car accident, leaving their three children (Hayden Panettiere, and real-life brother and sister Spencer and Abigail Breslin) to Helen's guardianship. Both Helen and her other sister Jenny (Joan Cusack) are shocked. By all rights, Jenny should take the kids. She's happily married and already raising a family. Helen is fully prepared to let her undertake the massive task of mothering three extra children... until she reads a letter explaining why Lindsay wanted her to have the kids.

Deciding to give motherhood a chance, Helen adopts her nieces and nephew into her life. But motherhood is nothing like she expected. The kids are used to three square meals a day. Helen is used to pizza. They don't do well in her high-stress workplace. They ruin fashion shows. Drama erupts over the smallest issues. Audrey is far too obsessed with boys, Henry refuses to play any of his favorite sports, and Sarah bursts into tears whenever she's asked to tie her shoelaces. Helen's employer is not favorable toward the time they take out of her favorite assistant's schedule. Helen's apartment cannot hold three children and so they're forced to do some shopping. She cannot afford anything in Manhattan, so they move to a shabby apartment in Queens. Unwilling to split the children up, Helen searches out a school that will take all three of them... a Lutheran institution under the care of popular Pastor Dan (John Corbett).

Family strife, arguments, dramatic little trials, and humorous incidents mark Helen's rapid growth into adulthood. She goes from an irresponsible, immature, selfish young woman to a true mother, but getting there is far from easy. The formula for this film hasn't been tried before and works. It's dramatic without becoming overly sentimental. It's meaningful without falling into clichés. There are a lot of raw, honest conversations about grief, motherhood, and growing up. It's chock full of wisdom. Best of all, there's a very positive religious undercurrent. For once Christians aren't portrayed as legalistic, judgmental Bible-thumpers, but as good, sensible, loving people who can actually smile and have fun. Dan is a positive influence in Helen's life, even though he does make the mistake of dating a non-Christian. (This is a minor issue and forgivable in the light that Helen is on her way toward becoming a better person, and may make that step in the future.)

There are some brief content concerns but none are gratuitous. There are no abuses of God's name, and only a handful of profanities. Dan and Helen joke about whether or not he's a "sexy man of faith," and he references being able to watch "dirty movies" (he's kidding). Her relationship with him is completely innocent, contrasting her carefree earlier flings. In an early scene she goes home with her boyfriend; they kiss in the hallway before vanishing into her apartment. She takes the children to a fashion show where some lingerie-clad models are present, but we barely even get a good look at them. Helen removes her sweater and long skirt to reveal a much skimpier outfit. Several conversations revolve around Audrey's increasing fascination with boys. Dan encourages Helen to talk with her (presumably on the subject of abstinence) because he caught her and one of the boys "making out in the church balcony."

In a very important scene, Audrey leaves the prom with a boy and heads to a motel. Helen is frantic and goes looking for her, along with Jenny, who marches in on the couple (nothing has yet happened) and gives them an excellent talking-to. Mothers everywhere will cheer as she, hands down, shows who is boss and lays out the facts on the line. Audrey is marched out to the car to sulk and the terrified BZ is told that he's "not a bad person, but this is a bad thing!" I like the stand on abstinence presented here, since it's not preachy or "religion-based." Jenny asks Audrey if she's ready for motherhood. She also tells Helen it's time to shape up and be stern. Mothers have to be harsh at times if they love their children and want what's best for them. If you love someone, you're hard on them when they need it. Helen makes a dramatic step forward when demanding Audrey's fake ID card (early in the film she congratulated her on getting it). The ultimate outcome is that family is worth everything, but motherhood isn't to be sneered at. You'll leave the theatre finally feeling understood if you're a mom, and if you're a daughter yet to have children, with a much clearer sense of what joy, tears, and frustration go into this full-time job. I took my mom and she loved it.... make sure to take yours.

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