The Help, Directed By Jack Davis No Sugar And The 2011 Film Directed By Tate Taylor

As quoted by Dr. Martin Luther King Jr.: “The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy.” The 1985 play by Jack Davis No Sugar and the 2011 movie directed by Tate Taylor The Help employ stage techniques and narrative techniques respectively to reflect the stance of Martin Luther King Jr. in the development of characters and themes, expressing the constant battle faced by People of Colour in the search for equality. The endings of both texts effectively position modern audience member to react with strong emotions of anger, embarrassment, sympathy when conveying themes and ideas, as well as inspiring hope and educating audience members as
Regardless of era or setting, whether it be 1960’s Jackson Mississippi, or 1930’s South-Western Australia, the creators of each text harness the themes of defiance, abuse and oppression without justice, and the importance of family in the endings of their text to leave audience members with a strong ‘for’ position on the issue, encouraged by the use of emotions.

The endings of each text harness film techniques and play conventions respectively to evoke strong feelings of sympathy and guilt when exhibiting the theme of abuse and oppression of people of colour without means of justice. At the conclusion of The Help, Milly’s abusive husband Leroy tries to kill her after Hilly arranges for him to be fired at Milly’s defect. The use of non-diegetic sound enhances the intensity of the situation, creating a realist tone and allowing audience members to feel involved in the situation, thus evoking sympathy, fear and guilt. Similarly in No Sugar, themes of abuse at the defect of white people are exhibited when Mary gives birth to her baby and is fearful that Matron will take it to be killed and ‘buried in the pine plantation’. The distressing tone exuded through the characterisation of Mary alienates and victimises audience members, evoking feelings
The characters in both texts similarly battle social norms and legal restrictions to continually express their love for others, no matter their race, and love for their family, no matter the situation. Compassion is shown from Celia and her husband in The Help, when they allow her to keep her job with them for life. This outreach of compassion from a White American demonstrates that although social norms are a restriction, those who genuinely have compassion and love for others can trump over hate. Celia’s act simultaneously evokes love and compassion from audience members, and effectively encourages the acceptance and unity of all peoples. Abileen’s love for Elizabeth’s daughter, Mae Mobely, is also an expression of unconditional love despite society’s limits, strongly portrayed through the repetition of her mantra: “You is kind, you is smart, you is important.” Abileen’s courage to love Mae as she would love her own child reinforces the strength and unconditional compassion possessed by People of Colour, even if they are the victims of abuse and oppression by other White Americans. No Sugar similarly convey the idea of unconditional love, present mostly in the Millimurra family and the love they share for each other despite the government's attempts to oppress