May December
May December
Starring Natalie Portman, Julianne Moore, Charles Melton, Cory Michael Smith
Directed by Todd Haynes
Television actress Elizabeth Berry (Natalie Portman) arrives in Savannah to research her upcoming role, playing the part of the real-life Gracie Atherton-Yoo (Julianne Moore) who, twenty years earlier, had an affair with a thirteen-year-old boy while she was thirty-six. She gave birth to his child in prison, and after release the two got married and started a family. Her husband, Joe (Charles Melton), is in some ways still a teen despite now being the age Gracie was when they first met, and Elizabeth at first seems like she wants to tell their story right by spending a week with the family. Yet as the days progress and Elizabeth gets closer to the family, it creates a rift that causes Gracie to question Elizabeth's intentions, as well as her own sanity, as she also deals with the last of her children heading off to college. Elizabeth grows more and more predatory, seemingly wanting to take over Gracie's life as opposed to just tell it, while Gracie herself seems to exhibit emotional outbursts that could point to mental disorder - or a ruse to trick Elizabeth into thinking she's the smartest woman in the room.
The Good:
If you're looking for three actors who deliver some of the best performances of their stellar careers, look no further than "May December." Although there's not a lot going on physically, the mental tete-a-tete is as formidable as any action blockbuster you'll see. Characters are richly developed to the point where it's almost impossible to pigeonhole them into one formulaic feel. Elizabeth, Gracie, and Joe are three characters who will stick with you long after the credits roll, and do so in a horribly subtle way: the film is essentially a three-person play, with lines being delivered by acclaimed thespians that resonate in your soul without you knowing it. It's deceptively simple but incredibly effective. You'll be left in the end wondering who's side you're really on - if there's a side to be on in the first place - as your views of these characters shift from moment to moment, where none of them leave everything on the table in plain sight for you to understand simply.
First there's Elizabeth, played by Natalie Portman, who gives her most chilling performance since her Oscar-winning role in "Black Swan." At first Elizabeth arrives on screen seemingly wanting to just tell Gracie's story right, and do so with a professional integrity that's above reproach for something that, although she says is an "indie" film, seems nothing more than a generic story-of-the-week on basic cable. She puts more effort than it seems needed to study Gracie, and soon she not only wants to study her, but seemingly become her. She mimics her movements, her lisp, her fashion choices, and eventually wants her man as well. But is it something she really desires because she loves Joe, or because she wants to fully encapsulate Gracie in every facet of being? Does she want to go to Daniel Day-Lewis level style of method acting, or is she so unhappy with her own life that she chose acting to live vicariously through others? When she attends a high school theater class, her most uncomfortable scene is shown that sheds a dark light on her intentions, and will leave you feeling completely different about her from then on out. Portman excels in this type of role, and is never afraid to fully envelop herself in such challenging roles.
Then there's Gracie, played by fellow Oscar-winner Julianne Moore. Gracie is a fractured woman who's obviously not all there mentally, as she was more than willing to have a fling with a thirteen-year-old and then marry him, believing there's no one else out there for her, even though she was married at the time. She treats Joe - even now - as a child, giving him chores and otherwise making him feel inferior. Yet she also exudes a sense of inferiority, as she meekly allows Elizabeth full control over her life for the week - and not just any week, but the week her twin children are graduating high school. It should be a time of family reflection, but having Elizabeth's continued presence is off-putting to say the least, especially during a family celebratory dinner that Elizabeth also attends. There's never a moment where these two women aren't tense, and you feel unease at every turn. Most notably numerous scenes where the two women both stare into the mirror facing the camera and seeing how Elizabeth mimics Gracie's every move. Elizabeth thinks Gracie is a simpleton, and it seems she could be right, but then there's moments where Gracie showcases that predatory capability that she once used on Joe all those years earlier. Moore is a veteran actress who has played a varied style of roles, but this one seems her most challenging and most daunting, and she pulls it off with glorious aplomb.
Finally there's Joe, the character that seems to be the center of these women's attentions, but also a character who's an enigma all his own. Relative newcomer Charles Melton garners an Oscar-worthy performance as Joe, a man who, in many ways, is still stuck in his childhood as he never was able to have one, being a father at thirteen. He is a shadow on the screen, moving from scene to scene silently but also leaving an indelible imprint that's undeniable. He maintains to be the heart of the family, and when given the chance he really offers the most heartbreaking moments, such as embracing his teenage son and wondering if they're having a true moment or he's giving him a negative memory. Melton melts into his role and more than holds his own against his two leading lady co-stars.
The score is downright chilling in its simplicity, with just a certain number of piano chords to strike your very soul. Thanks to Marcelo Zarvos, there's not a moment of brevity to be had - as even when Gracie is just staring into the refrigerator commenting on how they need more hot dogs, his score is there to permeate your existence.
The story itself is layered and cerebral, as you're witnessing a tennis match of mental proportions equal to that of Wimbledon. Elizabeth and Gracie go toe-to-toe numerous times, with Elizabeth seemingly underestimating Gracie's naivety, but is Gracie really as naive as she comes off? It's a continual struggle to understand but also what makes the film so amazing - you're not spoon fed anything, and by the end you're mentally exhausted in the best way possible.
The Bad:
Many people will find this type of movie boring, as there's very little action to be had. Instead the strength of the film lies in Todd Haynes' respect for the actors involved, and their own verbal (and non-verbal) delivery that tells the story. It's a talking film, and in a time where people demand big budget spectacles, they might be turned off by it.
One nagging thought hit me from the jump - when Elizabeth goes to Gracie and Joe's house, it's essentially a mansion overlooking a lake. How can a woman who was in jail and a man who works as an ER tech afford such a place?
The Summary:
"May December" is one of those deceptively simple movies that's anything but simple, taking you on a mental roller coaster ride as two acclaimed actresses give their all for the project which will leave you subtly spellbound by the end.
The Score: A+
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