Don Jon (R)

“Don Jon” is one of the strangest movies I’ve seen in a while. It’s also one of the most interesting ones. I’ve been a fan of Joseph Gordon-Levitt since his transition from unheard-of newbie in “10 Things I Hate About You” to excellent portrayals in films such as “Inception” and the indie “Kill Shot.” In “Don Jon,” Levitt’s writing and directorial debut, he creates a narrative that is weird, shocking, and, under the surface, a little ordinary. I mean this as a complement. Previews for the film, which billed it as a classic nightclub sleaze finally finds the right girl picture, completely miss the mark to what Levitt has produced here. Part personal narrative, part case study of sex addiction, and part introspective, finding yourself story, “Don Jon” is interesting both substantively and directorally, featuring wonderful acting from its main cast and food for thought on relationships, addictions, and more.

Levitt plays the titular character Don Jon (Levitt appearing quite beefed up for the role), a man defined by his possessions – and his porn. Nights spent at clubs with his friends rating girls from one-to-ten usually end in one way – Don Jon taking them back to his apartment for a one night stand, never to call them again. “Come on, you’re a grown up, you knew I wasn’t going to call you” he narrates to one conquest who sees him again in a nightclub after sex the week prior. His friends (Jeremy Luke and Rob Brown) envy his ladies-man-like skills. However, it isn’t long before Don meets the perfect ten (the “dime”), a woman named Barbara (Scarlett Johannson) who he strikes out with at a nightclub but manages to land a date with by stalking her Facebook. However, it isn’t long before his burgeoning relationship is threatened by his unhealthy porn habit, causing Don to search for clues to its importance to his life.

“Don Jon” excels in its ability to immerse viewers completely in the experience, spearheaded by fantastic acting from Joseph Gordon-Levitt and Scarlett Johannson. Levitt, visually recognizable at the film’s opening literally becomes Don Jon, his performance cocky and arrogant while at the same time subdued and vulnerable. The film takes place in New Jersey and Don, coming from a religious but quasi-dysfunctional family, nails the Jersey accent and bravado that accompany his character. Likewise, Johannson, still gorgeous but in a way we are not used to seeing, transforms into the one-sided Barbara with ease. Her accent and acting on par with Levitt shot-for-shot, it’s only moments into her appearance that you forget you’re watching Johannson as she completely disappears into the character.

“Don Jon” is about more than its central characters’ relationship, and is in no way a film about couples finding one another. It blends aspects of the addictive quality of internet porn (Don narrating that he once masturbated ten times in one day to online movies) with the things couples give up for one another that sometimes are only realized at the relationship’s end. One scene between Don and Barbara as he wants to buy a mop for his apartment is possibly the most startling; however, criticisms come in the fact that Barbara’s character is so one-sided we never get to see Don’s faults and peccadillos for what they are. Ironically, it is through a middle-aged woman (Julianne Moore) that he meets at a night class he is taking that Don learns the most about himself and his incessant porn habit. The scenes between the two are surprisingly well done and heartfelt, bringing emotion to the film in the most unlikely way.

Supporting characters and filming style add layers to the film, helped by Levitt’s attention to detail and ability to tell a story with the camera. There’s his father (Tony Danza), and mother (Glenn Headley), who argue distractedly with each other at dinner with neither listening to the other, coupled with his sister (Brie Larson, “21 Jump Street”), who speaks only once in the entire film, glued to her cell phone like so many residents of our modern society. This, aside long shots of Don driving his car and losing his temper at slow drivers underline his melancholy and unhappy existence. Only on three occasions do any characters notice this, comment on it, and try to help. And while holding the least dialogue, Larson possibly adds the most to the script, giving Don the pieces to the puzzle underlying his tremendous fascination with porn and objectifying women. Finally, the film’s religious undertones, specifically Don’s weekly confession to a priest of his sexual indiscretions, highlight Levitt’s talent as a scriptwriter – it’s not others he hurts with his actions, but only himself. “Don Jon” is an unlikely coming-of-age story, but works due to its approach to the material and the arc Don takes from anger-filled young man to one open to peace. Romantic dramas are seldom this keen in their observations.

For a majority of “Don Jon,” viewers will doubtless be both intrigued and perhaps offended by its crass language, sexual exploration, and in-your-face attempt to normalize Don’s sexual behavior. However, somewhere along the way the film becomes about more, causing you to think about it after the closing credits have rolled. The film is infinitely subtler and more provocative than it’s advanced billing would have suggested, and is a solid first writing/directing attempt by Levitt. While it doesn’t tread brand new ground in terms of relationship films, it makes up for it by embarking on character exploration not often seen in films centering on tawdry content. With solid acting, a good story, and purposeful filming, “Don Jon” is a unique film that will doubtless leave audiences anticipating Levitt’s next endeavor.

– by Mark Ziobro