One of the things that I really like about, you know, not setting any rules as to how I go about these actor profile things is that chronology is never an issue. I can jump and skip around in an actor’s filmography as if time never mattered (this post’s belated publishing is proof that it indeed doesn’t here on Thomas J). Picking and choosing roles more or less at random has been liberating.
The time has finally come for a healthy discussion of Joseph Gordon-Levitt’s directorial debut (and thus far his only feature directing credit). Back in 2013 the amiable and ever-busy native Angeleno broke the ice with a surprisingly clear-eyed look at the sacrifices and benefits of relationships, taking a modern, sex-positive approach to the subject and the nuances thereof — the corrosive effects of pornography and pop culture on one’s expectations of real sex; the difference between genuine, emotional connection and the thrill of infatuation.
Despite the film taking its title from the fictional and life-long womanizer Don Juan, a name used to pin down the general attitude of men devoted to the Lothario lifestyle, Levitt’s direction balances baser instincts with more complex feelings in a way that satisfies far more than it feels manipulative and cheesy. The cast is small but fantastic and, predictably, does great work with well-written characters.
Scarlett Johannson as Barbara Sugarman in Joseph Gordon-Levitt’s Don Jon
Role Type: Supporting
Premise: A New Jersey guy dedicated to his family, friends, and church, develops unrealistic expectations from watching porn and works to find happiness and intimacy with his potential true love. (IMDb)
Character Background: Don Jon is a film with a strong personality. With it being set in a part of the country that also boasts a strong (some may say abrasive) personality, it’s no surprise the characters are going to let you know what’s on their mind, usually by yelling. Barbara Sugarman is a good example, a strong cuppa who isn’t afraid of dropping a few f-bombs in a sentence for proper emphasis. And really everything about her is emphatic: girl talks loud, walks fast and chews gum for the work-out.
Barbara is a pretty shallow individual. She’s all about the artifice, how something appears rather than how it feels. One of the things that needs to be made clear is that Barbara is no villain, despite the character arc eventually pushing the viewer’s sympathies far more to Jon’s side. Not for nothing, she is very up-front about some of her principles. Don’t lie and everything will be all good. When Jon violates that simple rule, we understand her anger. What’s less reasonable is her expectation that relationships aren’t about work, it’s about comfort and pampering. Fine if you’re a Royal but in reality, at street-level, it takes two to make an effort and it would seem Barbara is putting in the wrong effort, or at least diverting her resources to the wrong cause.
Ultimately she is walking on a different side of the film’s thematic avenue. Unable to accept a man who prefers doing his own cleaning and taking care of his space, believing talking house chores is “unsexy,” Barbara fetishizes her knight in shining armor, attempts to contrive it in the same way Jon’s carefully curated collection of pornos has given him a far too specific code for stimulation.
What she brings to the movie: Temptation. Sex appeal is largely the point of the character, though Barbara’s perfectly manicured image is also symptomatic of something rotten. Scarlett Johansson is of course the quintessential blonde bombshell but as this feature has gone to show she’s a talented actor capable of conveying depth across a diverse range of roles. So it’s almost anti-Johansson to take on a role that’s the very definition of the cliché of beauty being only skin deep.
As a native New Yorker she also makes the thick Jersey accent easier to buy. It’s still affected, but is nowhere near as odd to hear as it is from her California-born co-star.
In her own words: “I had romantic ideas when I was a kid. I don’t know, I always liked people who didn’t like me. I always wanted what I couldn’t have, and I’m still in the process of figuring out why that is. It is something about our own ego, I think, it strokes our ego, the idea of the chase, the challenge. When you actually think about it realistically, would you ever want to be with someone who doesn’t want to be with you?”
Key Scene: An interesting moment, this one. Is this invasion of privacy? Or is that beside the point? Healthy debate time! Sound off in the comments.
Rate the Performance (relative to her other work):
***/*****
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Photo credits: www.imdb.com; interview excerpt courtesy of ScreenSlam
Recommendation: Sing Street is bound to appeal to fans of John Carney’s previous outings as it stylistically shares a lot in common with Begin Again (this reviewer has yet to track down Once but I’d venture a guess that it’s more of the same) but the story is just god-awful. Unless you enjoy watching serendipitous little confections that make you roll your eyes so much they end up flipping backwards into your skull I gotta say give Sing Street the ole swerve. 
Recommendation: Fun, energetic and well-acted, Man Up is a modest romantic gesture that earns its laughs and even its more sappy moments. Not without its flaws, this is certainly one to watch if you’re a fan of either Bell or Pegg. 
Recommendation: 50 First Dates narrowly avoids being lumped in with the rest of Sandler’s monotonous schlub-fests as it pays attention to something fairly important: chemistry between it’s two leads. Of course, this particular film banks on the fact that Sandler and Barrymore have that already established. Even still, it remains routinely funny, occasionally vulgar and always cliched and predictable viewing that offends the palate far less often than many other Sandler offerings. 50 First Dates is a film with a beguiling charm, if only because it relies on the strength of two actors who have done the very same thing years before.
Recommendation: A pleasant, reality-based drama centering on an atypical relationship that develops in a most atypical way, The Lunchbox has broad appeal. Possessing subtitles and originating from India does little to hinder the film’s extreme ease of accessibility. The performances are a delight and its subject matter, though not wholly original, is given the benefit of the doubt given the unique cultural material that is used to progress the story. I don’t know about any of you, but I want my lunches delivered to me while I’m at work! And I’m not talking Panda Express, either.
Thomas J 