Spoiler alert! The following story contains important details about the end of “May December” (streaming now on Netflix).
Is it possible to ever really know someone?
That’s a question that arises at the end of “May December,” the bitingly funny and slyly devastating new film from director Todd Haynes (“Carol”) and debut screenwriter Samy Burch.
The film follows TV star Elizabeth Berry (Natalie Portman) as she travels to Savannah, Georgia to shadow Gracie Atherton-Yoo (Julianne Moore), whom she will play in an upcoming film. Decades earlier, when she was in her 30s, Gracie had been convicted of seducing and raping 13-year-old Joe (Charles Melton), whom she later married and started a family with. As their now grown children prepare to graduate from high school, Joe begins to process his trauma while Elizabeth tries in vain to understand Gracie.
USA TODAY spoke with Portman and Moore about the film’s ending and that breathtaking, uninterrupted monologue.
‘May December’: Julianne Moore channeled Mary Kay Letourneau for the Netflix film
Natalie Portman says her May December monologue was “such a gift.”
Near the end of the film, Portman delivers a stunning three-minute monologue directly to camera while Elizabeth reads an old love letter Gracie wrote to Joe before their relationship was discovered. In the letter, Gracie admits that “we had crossed a line,” but “now I think I’ve lost track of where the line is.”
After countless hours studying Gracie’s distinctive lisp and demeanor, this is the first time Elizabeth has fully embodied her subject. She cries as she recites the letter alone in her room, throwing her head back in ecstasy and relief as she finally reaches the end.
“It’s such an extraordinary text,” says Portman. “There’s so much lying and omissions that they don’t tell each other. Then to experience that moment of performance as truth is a great gift for an actress. Those moments alone are so valuable in this film because these are such performative people, so you can actually feel the character when you don’t see him.”
The letter states: “We are finally getting some information through the lens of Gracie,” Burch says. “She’s not naive.” She’s fully aware of the legal ramifications and played the exact opposite throughout the film. But through Natalie we also see access to a woman who is very disturbed. That’s no surprise, but it’s still very unpleasant to watch.”
Portman shot eight takes of the scene, all of which were “subtly different but distinct,” says Haynes.
“It was a masterclass in acting. “It was just a remarkable day,” he remembers. “We shot it on the second to last day of shooting, so she had time to absorb Gracie enough. It was the scene I read in the script that made me want to make the film in the first place. And I knew that was exactly how I wanted to shoot it.”
Portman was grateful to save the monologue for the end of the 23-day shoot.
“It was really lucky,” she says. “Todd created ideal working conditions for us, and part of that was the chronological order of filming. This way we could start to get to know each other and reflect in real time.”
Julianne Moore unpacks the film’s ending, unanswered questions
In the penultimate scene of the film, the women have a final encounter at the graduation party for Gracie’s children. Elizabeth is pleased with her preparation and soon begins to doubt herself when Gracie asks, “I wonder if any of this will have really been relevant to your film.” Gracie then reveals the lies her son (Cory Michael Smith) told Elizabeth, meaning she never learned the full truth.
“For me the most important point is: ‘Do you understand me?’ Do you know me?’” Moore says. “I think that as an actor – and for all of us – you can only get so close to another person. That’s the wonderful and frustrating thing about being human. You always want to know more and you’re always trying to get in there. But there will always be a little piece that is so mysterious and just belongs to that person.”
Suddenly unsure, Elizabeth searches for something “real” on the set of her film. Now dressed as Gracie in a blonde wig and pink lipstick, Elizabeth asks to take one more shot before the screen goes black.
Reading Gracie’s letter: “Elizabeth is probably having her best moment as Gracie that we think she will ever have. It’s like Icarus flying too close to the sun,” says Burch. “When we see her later on set, we know she will never feel as safe as she did in that one moment alone in her room.”
As for Joe, the last time we see him is at his children’s graduation ceremony, where he breaks down in tears as he watches from a distance. It’s up to the audience to decide whether he leaves Gracie or not.
“This is a film that raises questions,” says Moore. “What’s wonderful is how many people ask, ‘What do you think is happening?’ Will the family stay together?’ I can not answer. The film ends with an inhale rather than an exhale.”
The making of the film: Julianne Moore Channeled Mary Kay Letourneau for Soapy New Netflix Series ‘May December’
Charles Melton is one of the early Oscar favorites and the beating heart of the film
“May December” is shaping up to be a major awards contender. Portman and Moore (both Oscar winners themselves) are back in the running for their respective performances, as is Burch for Best Original Screenplay. Melton, for his part, is poised to receive his first Oscar nomination for best supporting actor after winning at both the Gotham Awards and the New York Film Critics Circle Awards last week.
Melton, 32, is best known for his role as Reggie Mantle on the CW series “Riverdale.” Haynes was unfamiliar with the series but was immediately impressed by his audition tape.
“It was different than what I imagined Joe would be on the page,” Haynes says. Compared to other actors auditioned for the role, “Charles’ interpretation was more pent-up, pre-verbal and reserved.” His appearance was almost a distraction when I saw a photo of him before he read the part. I thought, ‘I don’t think this is going to work.’ He looks like a model.’ But he did something so extraordinary and understood things about Joe that seemed obvious when he auditioned.”
“He’s a miracle,” Haynes continues. “He has a lot less experience than Julianne or Natalie. Obviously he’s dealing with these extraordinary, powerful artists. But Charles brings sensitivity and a physicality to Joe that is extremely specific. It’s like a living, fragile performance. His tender little heart beats right in front of you.”