For better or for worse, Todd Haynes’ May December is about spectacle. Eager actress Elizabeth Berry (Natalie Portman) inserts herself in the lives of Gracie (Julianne Moore) and her husband, Joe (Charles Melton) in order to research her upcoming role in a biopic about the family. She learns of the couple’s entanglement in a decades-long, highly-publicized scandal that came about when Gracie was caught having sex with Joe at the local pet store when Grace was in her 30s and Joe was only 13. Samy Birch’s script draws many parallels to the real-life story of Mary Kay Letourneau, a 34 year-old school teacher who was convicted of statutory rape after sexually abusing a 13 year-old student, Vili Fualauu.
Where May December succeeds the most is in its performances, from Portman’s spectacularly melodramatic take on the Hollywood ingénue to Moore’s depiction of the manipulative, lisping Gracie, singularly determined to take control of the narrative of her life. Moore and Portman’s chemistry is clear, both as confidantes and later as rivals, but the most compelling performance, by far, comes from Melton. It could have been a risk to cast the Riverdale up-and-comer alongside two clear powerhouses like Moore and Portman, but Melton holds his own. Melton is earnest, shining in the far-too-few scenes that give focus to Joe’s journey of reckoning with the abuse and manipulation he has experienced at the hands of his wife.
By harnessing elements of melodrama and black comedy, director Todd Haynes attempts to make a mockery of Hollywood’s exploitation of sexual abuse victims. However, the film’s sting is dulled by the choice to center the narrative around Elizabeth’s morbid fascination with Gracie. As a result, May December neglects to give a significant voice to the true victim at the heart of this story, which is Joe.
