Thomas Newman began composing the film score in March 2011, following his involvement in the project.[2] Owing to the setting and storyline, music supervisor Jennifer Hawks, who worked as an executive producer in DreamWorks Pictures, had selected songs that had resonated to 1960s. The tracks were rendered by prominent artists such as Johnny Cash and June Carter, Dorothy Norwood, Bo Diddley, Ray Charles, The Orlons, Bob Dylan, Mavis Staples, Frankie Valli from the Four Seasons band and Chubby Checker.[3] As a collective, the songs spotlight the peak of the fight for equality in the United States during the civil rights movement.
The only original song written for the film, was "The Living Proof",[4] which was written and sung by Mary J. Blige and composed by Thomas Newman. The song was created after Blige watched the film twice at a private theatre and felt impressed, and emotional after watching. She stated "I cried really hard, I laughed really hard, I got angry, and I went through all kinds of different things. I typed all those things into my phone, and by the time I got to the studio to write the song, it was almost basically written."[5] She called the song in honor of the characters’ resilience and ability to forgive.[6]
Reviewing for both the musical score and soundtrack, James Christopher Monger of AllMusic wrote for the former, saying: "the soundtrack, a 12-track collection of oldies, classic country and R&B dutifully mirrors the heydays of the civil rights movement",[8] and for the score: "Newman's sweet/sad and pastoral score stands up perfectly well on its own, brandishing its own distinct shade of Americana that manages to incorporate the whole melting pot, rather than just skim off the top."[9] The Joy of Movies wrote "Like a lot of Thomas Newman’s other works, the score for The Help runs on the slightly more minimalist side. The simple melodies are memorable throughout and pleasant to listen to. The recurring themes are quite nicely developed and there are interesting wind instrument elements throughout, along with the likes of piano, guitar, and strings. Ultimately, with an appropriate mix between more serious and lighter tones, it works."[10]
Filmtracks.com wrote "The Help is an effectively competent score that once again proves Newman a master of expressing convincing tones for America's Deep South. It doesn't have the infectious personality or melodic exposition of an enduring benchmark like Fried Green Tomatoes, but its respectful sense of restraint is admirable. The hour-long album presentation is absent source material and is a mostly tonal, effortless listening experience that will be a pleasure to appreciate for those seeking to hear Newman return to his early 1990s sensibilities, even if it does manifest itself in the form of somber, atmospheric grace."[11]Collider's Natasha McMeekin wrote "The Help catches us off guard at times: it often switches from moments of humor and light-heartedness to moments of utter dejection, despair, and complete discomfort. Unsurprisingly, Newman understands this and works in tandem with the film's ever-changing shift in tone. The feel-good moments possess an upbeat cadence and whimsy that make us laugh along when our beloved characters experience precious moments of mirth. However, Newman shines in moments where performances and emotions become raw and thought-provoking. His suspension of gorgeous strings, and slow but poignant melodies, never outshine the characters in these moments."[12]
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