May's wailing wall appears repeatedly in Gina Prince-Blythewood's The Secret Life of Bees, each time an invitation to reflect, to remember what was and hope for what might be. And so, when T-Ray’s physical abuse becomes too much (among other specialties, he makes her kneel in grits until her bare skin bleeds), Lily leaves home, imagining that the honey label will give her a clue as to why her mother married her father and, more importantly, who she was before she did it.
While Lily develops particular relationships with August (who mothers her unconditionally) and June (whose need to be convinced of Lily’s trustworthiness is awkwardly hinted at in her apparent political activism, that is, her NAACP Youth Council t-shirt), Rosaleen finds solace and companionship with May. Cynthia Fuchs is director of Film & Media Studies and Associate Professor of English, Film & Video Studies, African and African American Studies, Sport & American Culture, and Women and Gender Studies at George Mason University. I've Got You Under My Skin: The Constancy of Cloning and of Gamer Identity in 'Hardcore Henry' by G. At once simple and mightily symbolic, it’s made of earnest gray stones and marks the smalltown South Carolina property she shares with her sisters, August (Queen Latifah) and June (Alicia Keys). In the kitchen, they create a brilliant mutual support system, seemingly premised on traditional housekeeping roles, but expanding beyond stereotypes.


They end up at the "Calender sisters" house where they learn they importance of working hard and being surpounded by people who love and care about you.
The wailing wall also marks time: beginnings and endings, history and memory, perpetual motion. She does this by means of weekly meetings, where women gather to pay respect to the Black Madonna, a carved wooden figure in the Boatwrigthts’ living room.
Lily is traumatized by stories: first, courtesy her rednecky father t-Ray (Paul Bettany), that her mother abandoned her, and second memory that, as she says over a dramatically blurry flashback, when she was four, she accidentally shot and killed her mother.
Like May’s wall, the Madonna offers respite, a means for mourning and celebration, resisting and re-narrating. The moment is also remarkable for its effect on Rosaleen: seeing this historic declaration of her right to vote, she determines to act on it. And it is May’s wailing wall that signifies the timely and timeless need for such learning.


Through Lily we see racism, love, the communities in which she stays, and a strong femal role.
This community is close-knit and wondrous, the film proposes, to the point that the white community is pretty much evacuated from the women’s story. When she’s harassed, arrested, and beaten nearly to death for her effort, Lily is moved to save her and in so doing, save herself. August Boatwright: She is a black women that lives in the south with her two other sisters.
The wall is where May remembers her pain and loss, remembers it even though she hardly has to—pain and loss are everywhere in the South during the early 1960s.



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