"We are not interested in publishing articles by unknown black women, no matter how talented they are." It's 1959, and Whoopi Goldberg's Corrina is a college graduate who still can't find a job outside of being someone's maid or cleaning woman. She gets a job working as the housekeeper and nanny for widower Ray Liotta whose daughter, Molly (Tina Majorino) has not spoken since her mother died. Corrina has a special way of dealing with her that eventually opens her up, and after that, she can't stop talking. She becomes very close with Goldberg and her family, and the grief stricken Liotta also begins to come back to life thanks to Goldberg's influence on their life. But this is no fantasia on race relations during a very trying time in America, and as much as she feels like an important member of Liotta's household, there are always reminders for her whether it be her own family or people in Liotta's social circle.
This has a really good screenplay that expresses some necessary ideals that are still being discussed over 60 years later. Goldberg is an independent-minded woman who has her own ideals, and she's tired of listening to the other women in her family try to match her up with available single black men or their feelings on her close relationship with her boss and his daughter. It's obviously a variety of prejudices from all angles that have to make the leading characters look into their own individuality to see what's right.
While mainly a drama, there are several scenes that are comical and funny, particularly the presence of Patrika Darbo as a bubbly yet impatient car hop waitress (whom Goldberg helps relax by having her sit in the back while dealing with mute Molly), Joan Cusack as the first nanny he hires who makes an unwanted pass at him and Wendy Crewson as a rather forceful admirer of Liotta's who is passive/aggressively racist and acts like one of the white women out of "The Help". Veteran actor Don Ameche is practically silent as Liotta's father, while Erica Yohn is commanding as his interfering mother. Another veteran actress, K. T. Stevens, has a bit role as one of Goldberg's many employers.
There's a scene where Molly refers to one of her young black friends with a racial slur, and is promptly admonished for her mistake. This scene involves children and shows how vulnerable and impressionable they can be, and it's a good lesson given to a white child from a black child as to how words can hurt. Another interesting aspect is the fact that Goldberg's character, a Christian, is admonished by Liotta for expressing her religious views, since Liotta and his late wife were atheists.
As Goldberg and Liotta get closer, their friendship seems to be moving into a romantic stage and you have to wonder how realistic that is for 1959. But as played by the two actors, you can't help but like their characters and at least want them to have some sort of understanding and friendship, and for young Molly to find happiness as well especially since she can't stand Jenny, played by Wendy Crewson. This is a sweet, thoughtful drama that while it has aspects that may not seem true to the period still brings you into it and makes you care about what happens.
This has a really good screenplay that expresses some necessary ideals that are still being discussed over 60 years later. Goldberg is an independent-minded woman who has her own ideals, and she's tired of listening to the other women in her family try to match her up with available single black men or their feelings on her close relationship with her boss and his daughter. It's obviously a variety of prejudices from all angles that have to make the leading characters look into their own individuality to see what's right.
While mainly a drama, there are several scenes that are comical and funny, particularly the presence of Patrika Darbo as a bubbly yet impatient car hop waitress (whom Goldberg helps relax by having her sit in the back while dealing with mute Molly), Joan Cusack as the first nanny he hires who makes an unwanted pass at him and Wendy Crewson as a rather forceful admirer of Liotta's who is passive/aggressively racist and acts like one of the white women out of "The Help". Veteran actor Don Ameche is practically silent as Liotta's father, while Erica Yohn is commanding as his interfering mother. Another veteran actress, K. T. Stevens, has a bit role as one of Goldberg's many employers.
There's a scene where Molly refers to one of her young black friends with a racial slur, and is promptly admonished for her mistake. This scene involves children and shows how vulnerable and impressionable they can be, and it's a good lesson given to a white child from a black child as to how words can hurt. Another interesting aspect is the fact that Goldberg's character, a Christian, is admonished by Liotta for expressing her religious views, since Liotta and his late wife were atheists.
As Goldberg and Liotta get closer, their friendship seems to be moving into a romantic stage and you have to wonder how realistic that is for 1959. But as played by the two actors, you can't help but like their characters and at least want them to have some sort of understanding and friendship, and for young Molly to find happiness as well especially since she can't stand Jenny, played by Wendy Crewson. This is a sweet, thoughtful drama that while it has aspects that may not seem true to the period still brings you into it and makes you care about what happens.