Almost immediately gaining cult status on release, May could easily be mistaken for what is simply an offbeat comedy drama before its horror elements come to the fore in its final act. Yet Lucky McKee’s directorial debut is also an often tragic look into loneliness. The closest thing I can compare it to is Brian De Palma’s 1976 adaptation of Stephen King’s Carrie (a film that McKee cites as an inspiration), mainly for its pace that slowly builds up to its eventful climax and Angela Bettis’ amazing performance as the eponymous May, a comparison made even more apt by the fact that in the same year Bettis also starred in NBC’s made for TV adaptation of Carrie.
Bettis’ performance is easily the film’s strongest element and what elevates it to above average in my opinion. Since its release, many people have championed her performance and I’m unafraid to do the same. The viewer’s connection to May is what drives the film and Bettis not only beautifully plays the lonely outcast but also the more malicious and outgoing side of May that bursts out in the final act. The most we get of the character’s backstory is the brief flashback that opens the film, and that’s all that we need to understand the character’s trauma. Any longer would be too much. A big part of why the lead performance works so well is because May feels like a real person. Bettis could’ve easily overplayed the quirkiest elements of the character but she doesn’t. It’s a real pity that Angela Bettis’ career didn’t blow up following this, although she continues to star in indie horrors. Despite Second Sight’s new Blu-Ray release featuring various solo interviews with cast and crew who worked on the film, there is not one present featuring Bettis (although there is one commentary featuring her that I have not yet listened to), I am of course unaware of the circumstances behind the making of these interviews yet it feels like a missed opportunity.
As for the flaws I found with the film, they are mainly rooted in the pacing and characterisation of the main characters other than May herself. The middle chunk of the film rotates around May’s interactions with both Jeremy Sisto’s Adam, the Argento fanatic and amateur filmmaker whom she falls in love with, and Anna Faris’ Polly, her lesbian co-worker who pursues an affair with her. Although both performers have very good chemistry with Bettis, there’s not much else to their characters other than what I have already mentioned. Plus the repetition of the middle act did make me lose focus a bit, until the intense final act arrives and injects more energy into the film, I was thinking that the film perhaps would have worked better as the longest feature of an anthology rather than a full feature, yet at the same time I feel that shortening it would take some depth away from the main character. Despite the slight dip in the middle, I would hesitate to call any parts of the film outright poor as it is consistently carried by Bettis and the climax is made even more satisfying.
When perusing the generous amount of interviews included on the Blu-Ray, I noticed that Lucky McKee assembled many of the production team from friends he met at UCLA, such as editor Rian Johnson who later achieved fame through going on to direct films such as Knives Out and Star Wars: The Last Jedi. Another is composer Jammes Luckett who contributes a wonderfully varied score to the film, ranging from hard-driving indie rock and moody trip hop to haunting lullabies. McKee’s decision to hire the friends who assisted him at film school really helps to show the passion that he has for homegrown cinema and his influences shine through. The mock short film made by Adam, Jack and Jill (directed by another of the film’s editors, Chris Sivertson), is a loving homage to 60s exploitation in the vein of Herschell Gordon Lewis. The whole film also has a streak of black comedy running throughout, which matches well with the awkward tone that a lot of the scenes pull off. Despite that, the film also contains a surprising amount of humanity, culminating in a touching and slightly heartbreaking final shot that I am sure will continue to linger in my mind for a while.
Despite the slight issues I had with it, May is a film I very much admire after having watched it and I can easily understand why it is so beloved in some circles. It is as poignant as it is unsettling and can definitely see myself revisiting it at some point. As for the new Blu-Ray release, Second Sight have put together a very well-rounded extras package consisting mainly of interviews and commentaries. I took a look at some of the interviews included which appear very in-depth and informative about the film’s production and influences. I understand that the limited edition release also contains a 70-page book of essays and some art cards. The transfer is sourced from a dated print, and whilst the film could benefit from being cleaned up a bit I think that the slightly weathered look suits the film. I did have an issue with the 5.1 sound mix where I struggled to make out dialogue at times, I am unsure if this problem persists on the stereo track but then again it is only slight. Overall, a solid recommendation from me.
May is out now on Second Sight Films (LE) Blu-Ray
