May December (Netflix): A Review - A Comedy Wrapped in a Social Commentary Inside a Melodrama

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT/SKIP IT. This movie, like its subject, is elusive, but if you look at it through the proper lens, it often becomes fascinating.

May December, starring Julianne Moore and Natalie Portman, is a dramatic reimagining of the salacious story of Mary Kay Letourneau, a school teacher who fell in love with her 13-year-old student back in the 1990s causing a huge scandal.

The film, which premiered on Netflix December 1st, is directed by esteemed auteur Todd Haynes and written by Samy Burch.

May December follows the story of Elizabeth (Natalie Portman), a famous actress cast to star in a tv movie as Gracie, the woman who had a scandalous affair with her 13-year-old student Joe. Gracie went to prison for the rape/sexual misconduct with a minor, but when released resumed her relationship with the then-of-age Joe and later married him and had two children with him.

Elizabeth comes to Savannah, Georgia and integrates herself into Gracie’s life in order to better understand the character she will be playing in the tv movie. She observes Gracie and her family and community, and each night goes back to her hotel room and tries to capture Gracie’s essence by mimicking and imitating her.

But as time goes on the truth about Gracie and Joe, and even about Elizabeth, becomes more and more murky, and more and more elusive.

Director Todd Haynes is a unique filmmaker. I remember the first film of his that I ever saw was Safe (1995), which also starred Julianne Moore. That film was a very tense, deliberate, psycho-drama that was masterfully assembled.

Since then, I’ve found myself less enamored with Haynes’ work. His acclaimed films Far from Heaven and Carol felt decidedly flaccid and his more off-kilter attempts, like Velvet Goldmine and I’m Not There fell flat.

May December though feels a bit different in that as a straight drama, it’s a colossal misfire, but as a sneaky comedy, melodramatic parody/satire, it works incredibly well. The question, of course, is whether Haynes is intentionally trying to be funny or if all of the comedy is purely unintentional.

One hint that Haynes is shooting for comedy is the recurring, and hilariously bad, music cues. The soundtrack for this movie is laugh out loud awful…and absolutely perfect for a cheesy, exploitationist, made-for-tv movie…just like the one Elizabeth is making regarding Gracie’s fall from grace.

There’s a scene in May December where Gracie’s adult son from her first marriage, Georgie, who is an absolute trainwreck of a human being, attempts to blackmail Elizabeth into getting him the job of “music supervisor” on the tv movie she’s making about his mother. How that resolves itself is never entirely clear but by the awful sound of the music in May December, I think if Georgie didn’t get the gig on Elizabeth’s film, he definitely got it on May December.

Haynes also treats us to some immaculately crafted, cheesy as hell zoom shots, and tightly choreographed scenes that are epically hilarious in the most subtle of ways.

The funniest part of the film though is that both Julianne Moore and Natalie Portman, seem to be completely unaware that this is a comedy and entirely locked in to melodrama mode…and are both pretty awful at it.

Moore sports a grating and completely contrived lisp that is the height of distraction, and Portman is so mannered as to be a mannequin. Both of them are constantly acting, which is exactly what both of their characters are doing as well. It’s like they’re in a hall of mirrors and the real people, Gracie and Elizabeth, are impossible to differentiate from the spate of reflections upon reflections.

Speaking of mirrors, that’s not to say that there isn’t magic between these two acting icons. On numerous occasions Moore and Portman share a small space in the film and despite the lisps and the over-acting, the scenes crackle with life. These scenes are often shot, masterfully, in mirrored spaces, like bathrooms or changing rooms, and watching Moore and Portman work their instinctual magic through a camera and through a mirror or multiple mirrors, is absolutely mesmerizing.

Also mesmerizing, is Charles Melton, who plays Gracie’s victim and now husband, Joe. Melton gives the most layered, nuanced and finely crafted performance imaginable, and one of the best performances of the year. Melton, who is best known for starring in the CW series Riverdale (which I’ve never seen), is so present, genuine, grounded and exceptional as Joe it’s like he’s in a different movie altogether.

Another standout performance is by D.W. Moffet, who plays Gracie’s first husband Tom. Moffet has essentially one scene in the movie, and it’s a conversation between Tom and Elizabeth - who is asking him about the experience of being on the wrong end of Gracie’s infamous affair with an underage boy. Moffet is extraordinary in this compact scene. In lesser hand this scene is just an exposition dump and some mugging for the camera, but Moffet turns it into a profound and deeply moving drama all its own.

As the film unfolds, viewers can either accept it as a piece of heightened parody and camp, or can resist it and be extremely disappointed in it as a straight drama that gets lost in a swamp of melodrama.

I chose to enjoy the comedy of it all, and laughed out loud on numerous occasions…like when Natalie Portman’s Elizabeth does a skin-care commercial that is just like a real-life Natalie Portman skin-care commercial. I don’t know why I found that so funny…but I burst out laughing nonetheless.

If you’re looking for a smart, sly, sneaky and subtle comedy about predatory relationship power dynamics, the exploitative nature of our culture and the venality of fame, then May December is for you.

If you’re looking for a high-intensity, prestige drama that will move you deeply, then May December is not for you.

I chose the former and thought May December was a worthwhile cinematic venture. I think if you go into it with the proper, finely-tuned expectations, you’ll end up appreciating it and be glad you watched.

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