Tag: Todd Haynes

“May December” Screens at CIFF on October 18, 2023

On October 19, 2023

In Movies, News, Of Local (Quad Cities') Interest, Pop Culture, Reviews

May/December is a riff on the infamous Mary Kay Letourneau scandal of 1997, but that is where the similarities end. None of the information contained within this film can be taken as “true” in regards to the real couple who inspired the film. Todd Haynes directed and Natalie Portman and Julianne Moore star.

“May December” is a weird film. The tone is serio-comic, with vacillation between the two. “I’m Not There”—Haynes’ 2007 film with different actors playing Bob Dylan—was also weird. Last year, he made “The Velvet Underground,” a good straight-forward documentary. May/December is not a straight-forward anything and most definitely not a documentary.

One of the producers on this film was Will Ferrell. What does that tell you? The tone at times reminded me of Ferrell’s ice-skating movie “Blades of Glory,” except that “Blades of Glory” was actually amusing. This one, for me, was just campy, schmaltzy, and cringe-worthy.

The opening barbecue scene, where Gracie remarks “we’re going to need more hot dogs” comes off as funny only in a semi-sick way. The accompanying melodramatic music was part of the ill-advised plan to play half of this movie for laughs and half of it as serious. I hoped the film might provide insights into why something like this true life 1997 Mary Kay Letourneau incident might have occurred. The “framing device” for the film is that Natalie Portman as the character Elizabeth Berry has agreed to play Gracie (Julianne Moore) in a bio-pic; she is trying to “get inside” Gracie’s head and figure out what makes her tick.

NOT A DOCUMENTARY

The film is not a straightforward recitation (even with names changed to protect the guilty) of the infamous Mary Kay Letourneau case, involving a 34-year-old teacher who began a sexual affair with her middle school student. In real life, Mary Kay’s sixth grade student was just shy of thirteen when the two began having sex.

The story collaborators apparently thought this real-life soap opera drama would be “funny.” It didn’t seem “funny” at the time to the public. It certainly didn’t seem humorous to the families affected by that May/December coupling. It doesn’t seem funny when Gracie was Joe’s teacher. We exist in a time that has seen an increase in child pedophilia. Maybe it’s the fact that I come from a long line of teachers, but I did not find the underlying premise of the movie to be a fountain of comic moments.

Of course, the real-life couple staunchly maintained that they were merely star-crossed lovers for 20 years. It is only late in the plot that Joe begins to articulate some doubts about whether the couple love each other as much as they have claimed through those years. In one scene, Joe (Charles Melton) actually says, “I didn’t know what a big deal it was—having kids.” A strange statement from a young man whom Julianne Moore’s Gracie describes as having been “an old soul” long before she decided to hire him as her assistant at a pet shop and have her way with him in the storage room. (Not, by the way, based on the Letourneau reality.)

REAL LIFE

For those who don’t remember the Mary Kay Letourneau case, Mary Kay spent 1998 to 2004 in prison as a result of being convicted of felony second degree rape of a child. She was forever listed as a sex offender. The pair did not obey the judge’s order to have no further contact, conceived two children, and married in 2005, soon after Mary Kay was released from prison. (In real life, Mary Kay Letourneau had six children, four from her first marriage to Steve Letourneau and two with Vili Fualaau.) She and Vili remained married for 14 years, separating just one year before Mary Kay’s death at age 58 of stage four colon cancer on July 6, 2020.

Not surprisingly, Steve Letourneau, her first husband, moved to Alaska, remarried (and had more children) and refuses to even comment on Mary Kay. In this film, Steve Letourneau/Tom Atherton is well played by D.W. Moffett. The depiction of him is not favorable.

The letter that is read in the film by Natalie Portman (from Gracie to Joe) indicates that Gracie’s sex life in marriage number one left a lot to be desired. Once she tasted the forbidden fruit that Joe represented, she was loathe to go back to reality—or so the letter, read onscreen by Portman in a scene that made me cringe for her—seems to say.

The fact that the principals in this Romeo and Juliet doomed lovers set-up had a 22-year gap in age is not the reason for censure. There are marriages that feature couples with a large difference in age. Two very senior citizens on the Hollywood scene, major movie stars, have very recently had offspring with their much-younger paramours. Twenty-two years difference in age doesn’t even seem that large when measured against such realities.

So, the difference in age isn’t the issue. The issue is whether a minor (12 or 13) is really capable of making an informed decision when an authority figure in his or her life is suggesting a sexual relationship. Gracie/Mary Kay was put in a position of authority with her young charge and crossed the line, sexually.

Joe is constantly depicted as trying to please, placate, or serve Gracie. She is still in control. One line about Gracie, from a neighbor, is, “She always knows what she wants.” Gracie, as portrayed by Julianne Moore, has logical explanations for actions with her children, but those actions often seem very passive/aggressive. She seems very controlled and in command in the dinner parties and interactions depicted. But let some neighbors cancel their bakery order and Gracie descends into near-breakdown hysteria.

The real Mary Kay Letourneau was diagnosed with bipolar disease. She was told to take her medication and not see her young lover again. She obeyed neither of those orders from a judge, which is why she spent so long in prison. (She was sent back for disobeying the judge’s orders. Donald Trump: take note.”)

In this fictionalized case, the student is in 7^th grade (not 6^th) and is Korean, not Hawaiian. The pair does have children, who are about to graduate and go off to college. In real life, Mary Kay Letourneau and Vili Fualaau were married for 14 years, until they separated in 2019. They had only two children. In this film there are twins, a girl away at college, Mary at home, and what seems to be a large number of children, when her former offspring are factored in.

CAST

This film stars Julianne Moore, who won an Oscar in 2014 for playing a woman afflicted with Alzheimer’s disease, “Still Alice..” She has appeared in 107 films. She has made many, many wonderful films; the subject matter of many is often racy (“Boogie Nights” comes to mind.) I felt sorry that she had to appear in this one, which, for me, fell flat.

Similarly, Oscar-winner (“The Black Swan”) Natalie Portman appears as an actress named Elizabeth Berry, a celebrity with a TV show about animals called “Nora’s Ark”, who has been hired to portray Julianne’s character of Gracie in the upcoming bio-pic. She wants to get close to the real Gracie. Gracie and Joe allow her to come to their home. (And what a home it is, for a couple with a wife who only bakes for others and a husband who appears to perhaps be an X-ray technician. How do they afford this elegant home in Savannah, Georgia? How are they going to pay for at least four kids in college simultaneously?)

The young man who portrays Julianne’s young husband (22 years younger in the real Letourneau case) is Charles Melton as Joe Yoo. He does what he can with this part, as do the two experienced actresses. Charles Melton is one of the few bright spots in the film, but he still provokes gales of laughter because the scripted things he is given to say are that bad.

MUSIC

From the moment we see a butterfly chrysalis onscreen (Joe is interested in helping re-populate the Monarch population) and the ponderous, schmaltzy music begins playing, you think, “What the f___?” Marcelo Zarvos wrote original music and adapted Michel LeGrand’s melodies from “The Go-Between.” The music is heavy-handed and melodramatic.

Later, in a café scene, we see one of Gracie’s children from her first marriage, Georgie (memorably played by Cory Michael Smith), singing. The lyrics “Oh, Baby, I love your ways” float over to us, before Georgie delivers the cringe-worthy line, “I’m a Phoenix rising from the ashes.” (Yikes! Who talks like that in real life?)

WORST SCENES

There are so many awkward, uncomfortable scenes that I hate to single out the back room of a pet shop, where the duo was supposedly caught in flagrante delecto, or the other questionable scenes, meant to be comic. Natalie Portman seemed to get more of the truly execrable scenes than Julianne, including one where she relives the storage room romance of the pet shop all by herself, writhing and moaning with wild bird noises in the background. And there’s the one where she faces the camera and has to deliver a bad monologue that was a letter Gracie wrote to Joe. There is also her inappropriate description of playing sex scenes, delivered to a high school class where Mary Atherton, Gracie’s daughter, is in the audience.

Nothing about the situation seemed “funny,” to me, especially since so many lives, including those of six children, were negatively impacted. There are actually two bad pet shop scenes, one involving a snake. Which is worse? You decide if you watch this on Netflix when it begins streaming on December 1^st, or in a theater beginning November 17^th.

BEST SCENES

One shot showed Joe looking through a wire fence at his graduating children. That one, with its symbolism, was interesting. But on the very day her children are graduating, we see Julianne Moore as Gracie, accompanied by two Russian wolfhounds, stalking the land while holding a rifle. (A WTF moment.) A fox is on one side of the field. Julianne and the fox exchange glances. Oh. My. God. (Just shoot me now, Julianne).

When Charles Melton asks his oldest son, Charlie Atherton-Yoo (Gabriel Chung), if he is sad that Charlie is soon going to be leaving for college, the young man says he is very happy to be leaving. [Can’t blame him there.]

The cinematography by Christopher Blauvelt (“Emma,” “Zodiac”) was good and the Savannah, Georgia area photographs beautifully. It is shot on 16-millimeter film. Haynes’ usual cinematographer is Ed Lachmann (“Far From Heaven,” 2002; “Carol,” 2015).

UNDERLYING POV

The opening scenes of the film seem to promote a picture of Gracie as loving and committed to her marriage to the much younger Joe. However, her abandoned son, Georgie (from her first marriage) tells Natalie Portman, “Lady, she’s messed up in the head.” He relates tales of early incest abuse by his mother’s older brothers, but we never know whether that is true or false.

Indeed, there is evidence that supports Gracie and Joe as loving parents, but the real Mary Kay Letourneau was diagnosed as bi-polar and essentially abandoned her husband four kids for a twelve-year-old. Not exactly comic fodder; who thought this would make for a good movie that is half comic and half serious?

GRACIE’S LESS MATERNAL MOMENTS

Mary Kay gifts her daughter who is going off to college with a scale. She implies to a younger sister Mary (Elizabeth Yu) that her arms are fat, as the daughter tries on dresses for graduation. Gracie also loses it over a canceled baking goods order. It seems that baking is what Gracie does well; Friends in the area order things from her out of good will. The comic/not that funny line is, “How many pineapple upside-down cakes can a family eat?”

It also brings up the valid question, “So, is the community generally supportive of Joe and Gracie, as with the ordering of baked goods, or does she receive more packages of canine feces than orders for baked goods?” It’s also valid to ask, “How do they afford this big house with the small pool and the ocean view and also sending multiple children off to college at the same time? Where is the money coming from?”

Early on, a neighbor tells Natalie Portman as Elizabeth to “be kind” in her portrayal of Gracie. The film doesn’t seem to have made up its mind about whether or not the mis-matched couple has really been accepted, since Elizabeth, upon arrival, brings a package she found outside the house containing dog feces, only to learn that it is a routine occurrence for such packages to be left there.

This didn’t seem all that humorous, or all that accepting or forgiving on the part of the community.

CONCLUSION

I felt embarrassed for two such fine actresses to be appearing in this movie. It has nothing to do with disapproval of the theme. One of Julianne Moore’s All Time Best roles was in “Boogie Nights,” a classic about the pornographic film industry.This film is not a classic and whoever had the idea to make it half-funny/half-serious should rethink that decision. The tone is all over the place. The only people who seemed to be enjoying it were mocking the many cringe-worthy scenes or statements.

The only way to think you haven’t wasted your time sitting through this is if you mock it. I didn’t want to mock it. I respect the actresses in the lead roles too much. I just wish they had had a better script or at least one that picked a consistent tone that came through clearly. Samy Burch and Alex Mechanik wrote the story and Samy Burch scripted. Shame on them

I was very disappointed by this movie. However, this line from the film applies, “Keep your expectations low and you’ll never be disappointed.”

Unfortunately for me, I had higher expectations for something that might give us a bit of an idea what the real life of Mary Kay Letourneau might have been like after crossing society’s boundaries in 1997. I just felt sorry that these two talented performers somehow ended up in this, after all their good work throughout the years. The film screened at the 59th Chicago International Film Festival on October 18, 2023.

The “best” part of the movie is the trailer. After that, it’s either laugh or cry.

Todd Haynes “Velvet Underground” Documentary Hits Festival Circuit

By Connie Wilson

On October 10, 2021

In Movies, Music, Of Local (Quad Cities') Interest, Pop Culture, Reviews

Velvet Underground

Todd Haynes, USA, 110 min.

Thursday, October 14, 7PM Premiere (AFS). Streaming on Apple+ on October 15th. (Also showing at Chicago International Film Festival).

“Austin Film Society will present a Doc Days Opening Night presentation of Todd Haynes’ The Velvet Underground: a look at the cultural, social, musical, artistic and cinematic forces that created one of the world’s most enduring bands. Far from your typical rock documentary, Haynes goes deep into the source inspiration of the sounds The Velvets would be known for, while tracking and connecting the band’s rise with and through New York’s independent and experimental film scene.

Haynes weaves a cinematic portrait of a band that was essentially birthed and defined through cinematic ideas and images, using footage from the films of Andy Warhol, Jonas Mekas, Maya Deren, Kenneth Anger, and Shirley Clarke, among others; and interviews past and present with those who experienced the brief reign of The Velvet Underground.”

According to Wikipedia, “Rolling Stones” named the “most influential bands of the Sixties” and the bands ranked first, second and third were the Beatles, James Brown and the Famous Flames, and the Velvet Underground.

As a sixties music afficionado, I was “in” to music, especially music from my own sixties generation. I subscribe to “Rolling Stone” and brought back a British record release of “Sergeant Pepper’s Lonely Hearts Club Band” in 1967, carried home from my time as an exchange student abroad. (The record was slightly different from the U.S. release.)

In England and Europe I took in James Brown and the Famous Flames in Paris and bought the U.K. version of the Beatles seminal “Sergeant Pepper” record breakthrough. When in England I attended a concert at the Savoy Hotel, a posh hotel in Birmingham, with a light show, at which an unknown band that had no record contract (yet) appeared. That band was Pink Floyd.

So, how did I miss out on being a fan of the Velvet Underground in their hey-day?

Now that I’ve seen Todd Haynes compilation of old photos and interviews with original members of the group and heard some of the songs, I think I know why I didn’t jump on the Velvet Underground bandwagon at the time. They were hugely experimental and are credited with giving birth to the punk movement and the New Wave movement many years later. With Welsh band member John Cale (who is interviewed prominently in the documentary) playing the viola and supposedly obsessed with sounds that are droning noises (like a refrigerator humming), that doesn’t sound much like the Beatles or James Brown, does it? It didn’t, to me. Then or now. To show how film was supposed to have merged with music (years before it did), some YouTube links like Nico’s singing with Warhol’s art in the background, should perhaps be included in this documentary. I’ve given you a couple video links.

I did not become very aware of the Velvet Underground until David Letterman featured Lou Reed on his Late Night talk show many years later. Since Lou Reed has been dead since 2013, these appearances must have happened 9 or 10 years ago, but I remember that Reed was always held forth by Letterman as the King of Cool, sitting in with Paul Schaffer and the Late Night Orchestra.Lou Reed was inducted into the Rock & Roll Hall of Fame not once, but two times, once as a member of the Velvet Underground and once for his own music, which continued for many years after the break-up of the group. His big hit was “Walk on the Wild Side.”

In fact, as one learns from reading up on the Velvet Underground (but not really from this documentary), the parting of the ways for this band came about when Reed felt that Cale had to go. And the primary reason Lou Reed felt that John Cale needed to go in one direction while Lou Reed went in another was that Cale, an odd bird from the first (a weirdly-coiffed intellectual Welsh guy who played the viola), was taking their music in a fairly eccentric and probably unmarketable experimental direction. Lou Reed had already had a job turning out 99 cent songs for Pickwick Records and he knew how to craft a tune that didn’t sound like the drone of a refrigerator. He also wanted to become a well-known star; he needed to do that on his own.

“Walk on the Wild Side” was written by Reed for use in the film version of Nelson Algren’s book of the same name. That book and that movie have a special place in my heart, because I sat across from Nelson Algren at the Englert Theater in Iowa City (Iowa) watching Nelson Algren watch the Jane Fonda/Laurence Harvey movie version of his work. I was glued to watching the author watch his book be interpreted onscreen by Hollywood. The song played over the film credits, if I remember correctly, and it had a haunting, beatnik vibe, as, indeed, Lou Reed represented throughout his life and work.

The other tune of Reed’s that broke through my consciousness was the song chosen for the movie “Juno” called Sticking with You,” which I remember thinking was a good choice for the theme of the unwed pregnant teenager who decides to stick with the young man (Michael Cera) who impregnated her, who was her best friend, if not technically her “boyfriend.” In keeping with the entire tone of the Velvet Underground and its pushing of boundaries, it seems somehow fitting that the female lead of “Juno,” Ellen Page is now Elliot Page. Here is a version of the song from that movie, sung by the Moldy Peaches:

I had to read up on Lou Reed to be able to interpret and fully understand this Velvet Underground film tribute.

I learned that Reed took listeners of his songs on unsettling journeys that detailed his drug use or the electro-shock therapy that his parents put him through. Reed always said he thought his parents made him undergo the shocking (no pun intended) therapy to “cure” him of what might have been his homosexuality. One source says he lived with a trans-sexual individual for three years, but he was also married three times, so I’m not sure if the homosexuality was a correct diagnosis—maybe pan-sexual?— but he was definitely a drug addict and an alcoholic for much of his life and wrote about it in songs like “Heroin.”

There was a story told of a falling out between Reed and one of his biggest supporters, David Bowie, who told Reed he was going to have to straighten himself out. Lou had gone on a tour of England and was so strung out that he never took the stage, causing the promoters to hire Ike & Tina Turner to fill his spot. There was talk of Reed, himself, finally deciding to quit using drugs in about 1979. He had contracted hepatitis early in the years of his intravenous drug use and he died shortly after a liver transplant in 2013, living less than 6 months after that treatment.

But if Lou Reed—the band’s lead vocalist and its most successful member—is gone, we have John Cale telling us of the years when Andy Warhol was the band’s manager (1966) and pictures from Andy’s work would be projected onto the stage behind the band. Warhol had decided the Velvet Underground would be the Factory’s “house band.” The band toured wearing dark sunglasses because there were so many things happening onstage at times, including impromptu composing of songs in a sort of improvisational music fashion, and so much happening with lights, etc.. that the sunglasses were to help the band.

The female drummer of the Velvet Underground, Maureen “Mo” Tucker, didn’t like cymbals and stood up to play drums in a sort of tom-tom fashion. She is also featured on the documentary talking about her time with the band. Angus MacLise was the drummer and then Moe Tucker in 1965. The band reunited in 1993 and for their 1996 induction into the Rock & Roll Hall of Fame, but were primarily done as an entity by 1970.

Various voices tell us that they had to change their name a lot “because we were bad” and that “With Lou we were going to blaze a trail, which we eventually did.” One woman even gives an impromptu dance of “The Ostrich,” which Reed wrote as a satire on the ridiculous dance tunes of the day, like the Monkey.

Reed, himself, was described as insecure and angry. Shelley Corwin said he was “angry at people for rejecting him,” which seemed odd, since he was always seen as Mr. Cool and managed to keep a career going even after associates like Tony Conrad tell us, in the documentary, “Lou was always falling down, was sick, and had to be raced to the hospital numerous times.”

A large part of the documentary shows how Andy Warhol’s P.R. “juice” would have helped them to succeed, and Andy decided that Nico—a gorgeous blonde—would sing. She couldn’t really sing all that well, so it was short-lived, but she was certainly very pretty and would draw a crowd. (She had a bit part in “La Dolce Vita” as one of the girls behind Anita Eckberg in that Italian film.)

Talking heads like Jackson Browne and John Waters pass judgment on the Velvet Underground and Lou is quoted as saying, of Allen Ginsberg’s “Howl,” “That’s what I wanted to do, except with a drum and a guitar.”

I was at a poetry reading at Berkeley once where Allen Ginsberg came out, sat on the floor with finger cymbals, and mumbled incoherently. He was so stoned that they finally had to go get the janitor to physically carry him off-stage. And th-th-th-that’s entertainment, Folks! Reminds me of the slogan, “A mind is a terrible thing to waste.” Ginsberg’s was being wasted that night in the summer of 1965, and Lou Reed’s talent was wasted for many years until he decided to depart from the Velvet Underground and clean up his personal act. They never “shocked the gayness out of him,” but whatever measure of gayness he possessed seems to have been mixed with a fair amount of heterosexuality, as well. [Remember: in those days, you could get 20 years in prison for being gay. It was not embraced by society.]

I enjoyed the old clips of Bo Diddly and Mick Jagger, the pictures or film of Andy Warhol and his coterie of avant garde followers.

I was less impressed by drummer Maureen Tucker or the viola-playing John Cale, original members of the band.

I enjoyed reading the story of a band member (Angus MacLise?) who never showed up on time for practices and/or appearances. Once, he showed up half an hour late for a performance, so, after everyone else had quit playing, he stayed onstage and played solo for half an hour to make up for his lateness.

Obviously, these disparate personalities—Reed’s included—were quirky and different and, yes, creative. All contributed to the assessment that the Velvet Underground, as Todd Haynes’ documentary testifies, was “One of the most influential bands in rock, underground, experimental and alternative music.”

I was hopelessly square (apparently) and from Iowa and preferred the Beatles (seen “live” at the San Francisco Cow Palace in 1965) and James Brown and the Famous Flames (seen “live” in Paris in 1967) and seem to have learned what little I knew about Lou Reed and friends from David Letterman and from research done for this documentary.

If you’re a big Velvet Underground fan you’re going to probably be older than I am old, which, since I’ve been reviewing non-stop since 1970, means you are not “young.” To follow John Cale’s “Velvet Underground” you had to like often discordant sounds presented as “music,” but, hey! To each his (or her) own. You’ll love this slice of sixties Americana if you were “in” to the Velvet Underground’s music way back when. It’s easy to see the genesis of Bob Dylan, MTV, music videos and so many other staples of today’s music scene.

How many Velvet Underground fans remain in 2021? Judging from the rave reviews at Cannes (and elsewhere), more than you’d think.