There is no question that Joseph Gordon-Levitt has stolen the hearts of audiences everywhere. His smile is infectious; his acting chops are cultivated; and he is universal, satiating fans of dynamic blockbusters like “The Dark Knight” as well as smaller indie hits like “500 Days of Summer.” This fall though, Gordon-Levitt has taken his involvement in film to the next level: He has written, directed and starred in his own brainchild. Audiences can now enjoy the craft of his acting in the context of his own cinematic creation.
“Don Jon” tells the tale of a notorious playboy from New Jersey named Jon Martello (Joseph Gordon-Levitt). He is rowdy, materialistic and completely consumed by pornography. When he meets the beautiful Barbara (Scarlett Johansson), though, it seems that his “bad-boy” days are behind him. Barbara is biting, driven and attractive. As Jon falls for her, he resolves to leave many of his habits in the past, a task that proves vastly more difficult than he had anticipated. When he meets a quirky woman named Esther (Julianne Moore), his life is gradually but undoubtedly turned on its head once more and Jon realizes that he doesn’t need a woman to reform his ways; he needs an individual who can reform his way of thinking and existing.
Though “Don Jon” is Gordon- Levitt’s first creation, it does not need to be categorized by his inexperience. It is an entertaining, substantive and perplexing movie that comes in a simple package but reveals depths that many movies fail to contain today. It is laugh out loud funny and though it is exceedingly sexually explicit, its sexuality never seems gratuitous. There is a balance that exists between the characters, the content and the stylistic elements of the movie that seem to operate on some hidden level, crafting a movie that flows easily and inherently.
“Joseph Gordon-Levitt does a fantastic job crafting poignant arguments about gender and media stigmas in our society, all while making you laugh,” DePaul junior Andreas Tsironis said.
Gordon-Levitt imbues his movie with every taboo imaginable, but always does so with the utmost taste. The film’s social commentary is palpable but it never feels burdensome. It is clever, fast-paced and always “shows” rather than “preaches.”
Scarlett Johansson has long been subtly objectified in blockbuster hits, which is perhaps why Gordon-Levitt’s intentional and unabashed objectification of her works so perfectly and hilariously in his film. She is delightfully wicked, her New Jersey accent is flawless, and her abundance of sexuality enables her to take her own control of the media’s gendered notions.
Though Julianne Moore’s role in “Don Jon” is gentle and swift, it is incredibly impactful as well. Moore has the potential to add grace and poise to any movie that she works on. In “Don Jon,” though, she does not rely on her acting-veteran status to build credibility. Gordon-Levitt’s unconventional style throws big name actors out of their comfort zone in the most delicious way; his work requires them to operate on a level that showcases their talent rather than their name.
“Don Jon” has arrived, aptly, on the precipice of Oscar season. For better or for worse, theaters are soon to be inundated with lengthy award contenders. “Don Jon,” on the other hand, presents itself without expectation. It is a swift film that is easy to enjoy while simultaneously delivering a gentle satire that is hard to forget.