Addiction in cinema allows filmmakers much scope to create a picture that is both as emotionally sincere, as it can be discomforting. From the likes of The Lost Weekend to Trainspotting to Shame – there’s something about this particular territory that breeds truly compelling movies. So it therefore seems like a safe, cinematic stomping ground for Joseph Gordon-Levitt to explore with his directorial debut – however Don Jon tries something a little different to what we’re used to, because this particular addiction is to online pornography.
Gordon-Levitt – who also wrote the screenplay – stars as Jon, who loves his life in New Jersey, with the perfect apartment, car, family, friends and of course the ability to go out every week and take a beautiful girl home with him. However sex doesn’t quite do it for Jon, as he harbours an unhealthy affliction towards pornography, as nothing quite matches the incomparable euphoria he gets when spending some alone time with his trusty laptop. However when he meets the seductive – if a little demanding – Barbara (Scarlett Johansson), he has a decision to make between the real thing, or his favourite online movies, because it seems the two aren’t quite as compatible as he had initially envisaged.
Despite the overstated, comedic elements, Don Jon does have a lot to say about contemporary culture, as our eponymous lead’s sexual habits, albeit somewhat immoderate, could be backed up in real life by some rather troubling statistics (let’s not go there). Gordon-Levitt is not afraid to delve into this world and explore the affect pornography can have on men, asking a quite pertinent and genuine question in the process: is porn changing the way men perceive women? The first-time filmmaker does offer a secondary argument however, as while Jon objectifies women and struggles to maintain any real relationship with a member of the opposite sex, we also see how society can be influenced by other forms of popular culture – as Barbara too has her own warped perception of life and love, with unfair expectations of her partner born out of idealist, Hollywood romantic comedies.
Gordon-Levitt backs up this intriguing narrative with a unique, stylised approach, making for a striking and memorable piece of filmmaking. The distinct quick-fire editing that has been implemented keeps up the fast paced nature of this film, while Don Jon feels almost hypnotic as well. We have a duplicated sequence of shots throughout, as this film follows a very repetitive structure, as though we’re documenting Jon’s progression (or lack of) across the movie, as we witness him walking into his gym, or walking up the stairs to church, with an identical, fixed camera frame used every time. There is a sound recognition too, as every time you hear the noise of a windows laptop turning on, you know exactly what is about to happen.
This approach feels almost cartoon like, as the sounds are all overstated and elaborate, taking away the severity of some of the themes explored and allowing for this film to remain somewhat light-hearted and tongue in cheek. However beneath the surface there is a poignancy to it all, and the exaggerated dynamic between characters, such as with Jon and his father (Tony Danza), is not actually too unrealistic, and if anything, seems somewhat tame compared to the likes of Jersey Shore. The leading relationship between Jon and Barbara picks up on the observational traits amongst young lovers, and Jon becomes identifiable in some respects. Not too identifiable, mind you.
Nonetheless, what prevents Don Jon from being a truly stunning piece of cinema, is the underwhelming, conventional finale, where this film that has pushed boundaries throughout and hasn’t been afraid to take risks, takes a predictable, cliched turn. Ironically, it’s one that is not too far removed from the featured, parodied rom-coms that Barbara has an inclination for herself.
[Rating:4/5]
