Don Jon

The wait is over; a film has finally been released that explains the alienation of our youth through media. A woman in her fifties stated while leaving the showing that the movie was pointless, everybody knows that a meaningful sexual relationship is better than meaningless sex. My quick response was, "You would be surprised as to how many people thrive on living such a lifestyle.”

The film's opening segment shows many well know clips of sexual breakthroughs in cinema, music, and television, such as Fast Times at Ridgemont High, a scene that most men and women born in the late 50's to late 60's must have had fond(ling) memories of. The montage continues into the narrative as the first third of the film allows a peek into a Jersey Shore like onslaught of raging hormones and sexual escapades. Our main character Jon begins as a ladies man addicted to sex with women who look like models from magazines, while going home and enjoying masturbating to women who look like whores too sexy to work the streets. His outlook on life changes by the end of the film, but his character does not, allowing the audience the luxury of not being forced to suspend any sort of disbelief.  

The largest mystery of the film posed to myself is what 'cars' represent. Several key scenes take place on and off screen with vehicles. Early on Jon states that his 'ride' is one of the few most important things he values. The meaning clearly points towards Jon's macho sexual nature. However the vehicle he drives also keeps him in a shell, much like pornography allows him to lose himself. Don shows no fear in shouting to the ignorant drivers of New Jersey, until eventually he punches in a car window forcing him to show the emotion of pain. Later in the film John chooses to have sex with the older and more mature Esther in the back seat of her car, a very vulnerable place to make love. Later in the scene Esther reveals that her family was killed in a car accident sadly stating, "Cars can be awful things," or something to that affect. However they still make beautiful love putting Jon into a sexual frenzy porn has ever given him. After sleeping with Esther, Jon is seen driving in his car ecstatically bouncing to "Good Vibrations" by Marky Mark and the Funky Bunch completely lost in love stricken bliss. Jon is bellowing the songs chorus as he reaches a stop light where an Asian couple shoots him a disconcerting smirk. Jon does his best to shy away from the embarrassment. I do not believe we ever see Jon in a vehicle again.

Eye contact also plays a large role in the film. While picking up women Jon can tell immediately if the woman is interested. It seems to be a sort of primal force between humans. This continues throughout the film in a variety of ways. Upon dating Barbara, the romantic comedy obsessed Jersey girl peach, there are very subtle downward glances by her character. She is constantly playing the game of hard to get, a trait that the beautiful bombshell has no doubt picked up from the entire ersatz ardor she watches on the big screen every day. Scenes within the church are both the most comical as well as the most frustrating. The comedy lies within the Catholic Churches readiness to forgive their followers through a private confession addressed to a Priest who in turn passes the sins onto the one and only God. This leads to a line I laughed at with glee. After Jon told the Priest he had only slept with one woman several times out of wedlock, and did not engage in any pornographic sessions. The Priest again advised him to say ten Hail Mary’s and ten Our Father’s. Jon’s response had me rolling in the isle, “Father, how do you come up with these numbers?” Jon is never shown within a church again.

It’s great to see a movie in my dreams produced and released. Although my top ten films list of 2013 is still in progress Don Jon is in the top 3 along with Frances Ha and Upstream Color. Certainly seeing more of the Martello clan characters fleshed out would have been intriguing. Exploring the Martello’s may have given insight into exactly why Jon was brought up to become the man we despise, yet still root for as our protagonist. Although director Joseph Gordon-Levitt gives us clues through an honest depiction of what family life is like at the Martello family dinners, there is never any fleshed out dialogue sequence between any of the family members. Perhaps that is the intention of the film. This family is so close knit that meaningful words cannot really be spoken at the intellectual levels craved by a more intelligent film viewer.

Keep working Joe, you are extremely talented, after viewing Brick there was no doubt in my mind you were going to explode onto the scene. Hollywood has caught the bug too, so cash in on some good Hollywood blockbusters, then go back to fine tuning your beautiful craft. hH