The Golden Globe Awards have once again stirred conversation with their category selection, reminiscent of the 2015 nomination of “The Martian” in the best motion picture — musical or comedy, despite lacking any musical elements or comic intent. This time, the controversy revolves around Todd Haynes’ film “May December,” a gripping yet challenging-to-define work drawing inspiration from the real-life story of Mary Kay Letourneau, known for her illicit relationship with a 12-year-old student.
The film’s placement in the “musical or comedy” category has triggered debates across social media platforms. While critics, even those who appreciate the film, tend to lean toward the belief that it encapsulates intentional camp, the nomination has also sparked outrage. Many questioned how a narrative centered on an adult’s predatory actions, specifically the statutory rape of a child (depicted as a 13-year-old in the film), could be labeled as a comedy.
Addressing these reactions, it’s important to note that while some see “May December” through the lens of intentional camp or melodrama—a signature trait of director Todd Haynes—others argue that the film doesn’t fit neatly into those categories. Haynes, often a director whose work invites misunderstanding, is known for his sincere approach even in melodramatic presentations, evident in his 2002 film “Far from Heaven,” a meticulous recreation of 1950s soap opera aesthetics.
Despite elements that could be fodder for ironic amusement, such as the film’s tabloid-inspired origins or its reimagining of Michel Legrand’s score from the 1971 film “The Go-Between,” Haynes’ film demands more than mere detachment. Rather than urging viewers to gloat over a glossed-over rendition of the Letourneau saga, the director plunges them into its unsettling depths.
The central character, Gracie (portrayed by Julianne Moore), resides in a seemingly normal family setting but harbors a profound, concealed turmoil stemming from her past relationship with Joe (Charles Melton), her former student turned husband. As Elizabeth (Natalie Portman), an actress preparing to embody Gracie’s role, delves into the complexities of her character, the film evolves into a compelling mystery. It probes Gracie’s psyche, prompting an exploration of societal roles and their impact on her actions.
Samy Burch’s screenplay paints Gracie as a quintessential Haynes protagonist—outwardly conventional but internally rebellious against societal norms. This approach mirrors Haynes’ previous works, such as “Superstar: The Karen Carpenter Story,” “Safe,” and “Far from Heaven,” which tackled societal constraints in varied forms.
Elizabeth, acting as the audience’s conduit, grapples with a contentious question: Can a relationship labeled as predatory also harbor genuine love? The film navigates this query as a profound enigma, skirting the edges between the sensational and the forbidden. Thus, classifying “May December” purely as comedy or camp could potentially overlook its deeper themes and the unsettling nature of its narrative.
In essence, the controversy surrounding the categorization of “May December” reflects a struggle to fully engage with its challenging subject matter, prompting viewers to confront its complexities rather than dismiss them with a casual laugh.
