Writer: Samy Burch
Director: Todd Haynes
Todd Haynes’ investigation of troubled suburbia continues with his latest feature May December, screening at the BFI London Film Festival 2023. A Hollywood behind-the-scenes story of an actor’s research process, as with Carol and Far From Heaven, Haynes finds the layers of guilt, resentment and spite beneath a seemingly happy relationship and a picture-perfect American neighbourhood. While the film itself has less to say than it thinks it does, it is anchored by two strong roles for Natalie Portman and Julianne Moore who explore the nature of performance itself.
Researching her subject ahead of shooting a film about her life and the crime she committed, actor Elizabeth visits middle America where she finds housewife Gracie the image of the ideal mom, running a bakery business from home while presiding over the perfect household. But as Elizabeth gets to know the real story, troubling realities come to the fore, yet all of this only makes Elizabeth more intrigued as she tries to perfect the ultimate impression of Gracie.
Haynes creates a two-hour melodrama that has a deliberate TV movie feeling, slightly exaggerated acting and an occasionally heightened style generated by the dramatic intrusion of Marcelo Zarvos’ music. This is a film about the faces people show to the world and the delusions they live under as a result in which both the famous actor and the person she is playing hide behind a projected image that entirely obscures who they really are. It is a film that, as a result, is also all on the surface, the two central characters concealing much from one another as motive and blame become confused. What begins as a collaboration erupts into a modest battle of wills.
Haynes structures his film around Elizabeth’s research process, initially interviewing people in Gracie’s life which produces varied results, uncovering a far more complex story and personality for Gracie than expected. But the interest in May December – a reference to the central disturbing age gap relationship – comes from Elizabeth’s slow mirroring and absorption, enjoying the darker tones she uncovers, and Haynes charts the subtly shifting sands as the actor begins the process of assimilation.
There are nods to the consequences of dealing with the reality, particularly for husband Joe who starts to question the nature and basis of his life as a result of Elizabeth’s intrusion. There is far more to discover about this, the happy family man who has known nothing but the relationship with Gracie in his adult life and starts to come apart at the seams. This two-hour movie spends too little time investigating the power dynamics of Gracie and Joe’s marriage which demands greater attention when they are left to deal with the aftermath of Elizabeth’s visit and its implications for their resurfacing trauma.
Haynes’ film justifies itself with two powerful performances from Moore as the fragile but directive Gracie whose sweetness and naivety is so convincing, she believes her own narrative entirely. Portman’s slow transformation begins with the facial mannerisms and expands to dress and stance as her character eventually morphs into Gracie. The seductive faux innocence she uses references Moore’s character and the twin performances make May December worth exploring.
May December is screening at the BFI London Film Festival 2023.
