Archives for posts with tag: oedipal

don-jon-poster

Jew Joseph Gordon-Levitt has fun pretending to be a dopey blue collar Italian in Don Jon, which the multi-talented actor also scripted and directed. Jon is a bartender and ladies’ man who nonetheless prefers internet pornography to the shapely bimbos he casually beds. But this state of affairs is challenged when Jon falls for oily-lipped Jewish floozy Barbara (real-life oily-lipped and tattooed Jewish floozy Scarlett Johansson), who has the big lug hooked as soon as he lays eyes and hands on her ass. When Barbara disapproves of Jon’s pornography habit, will love be enough to make him kick it? Furthermore, will Jon’s unexpected acquaintance with Esther (Julianne Moore), a complicated and damaged older woman, affect the outcome?

Don Jon is an impressive feature debut for Gordon-Levitt as a writer-director, but the cast is what really makes it pop. Gordon-Levitt, light years from 3rd Rock from the Sun, has emerged as one of the most compelling leading men of his day, while Johansson, in addition to being a natural at playing the tramp, gives ample evidence of the electric power that was always present behind her exotic looks. Tony Danza, proving that there may yet be life after Who’s the Boss?, delivers a rowdy performance suggesting he could enjoy a late-career renaissance as a high-voltage character actor. (Scenes around the boisterous family dinner table may put some viewers in mind of the Maneros in Saturday Night Fever.) Moore is bizarre and cries as usual, while pretty Brie Larson is enigmatic in her mostly silent role as Jon’s younger sister, Monica.

Joseph Gordon-Levitt betrays a contempt for the conventional happy Hollywood ending, a bias he actually inserts into his character’s dialogue; but if Don Jon has an Achilles heel, it is its insistence on insulting and abandoning the traditional audience expectations of how a romantic comedy ought to develop and blossom. Don Jon, consequently, fails to satisfy precisely to the degree that it deviates from the time-tested narrative structure. One suspects that Gordon-Levitt may have been influenced in his decision to consciously disappoint his audience by an admiration for Woody Allen’s dramedies of the 70s and 80s, films like Annie Hall, Manhattan, and Hannah and Her Sisters, which end in messy non-resolutions which nonetheless satisfy. Before he experiments, however, Gordon-Levitt is hereby advised to be patient and master the traditional forms.

4.5 stars. Ideological Content Analysis indicates that Don Jon is:

11. Un-p.c. In one of his bouts of road rage, Jon yells that another driver is “retarded”. See also no. 7.

10. Drug-ambivalent. Weed is okay, but crack and heroin are referenced derogatorily.

9. Crypto-corporate. Don Jon ostensibly criticizes commercial culture, but works in product placement for Swiffer, Coke, Carl’s Jr, and Hardee’s.

8. Class-conscious. Barbara, who has a cleaning lady, is disturbed to learn that Jon mops his own floors. She also demands that he go to night school, the vague idea being that Jon ought to be moving up in the world somehow.

7. Sexist! Jon and his buddies argue about whether or not a nightclub cutie is a “dime”, i.e., a ten. Women are, for the most part, treated as sex objects, and also present themselves that way.

6. Anti-Christian. Jon’s religion is a matter of empty ritual, with a crucifix, for instance, dangling impotently from his rear-view mirror as he curses at other drivers. He regularly reports in the confessional how many times he has masturbated or fornicated out of wedlock, but then casually goes about his business with no intention of changing his ways. The priest, for his part, sounds uninterested, prescribing his Hail Marys with robotic boredom. A montage irreverently juxtaposes the collection plate with the confessional. One church scene cuts directly to Jon’s father (Danza) exclaiming, “Holy shit!”

5. Pro-wigger. Jon calls his car his “ride”, etc. His and other young singles’ idea of rug-cutting is basically a vertical lap dance.

4. Multiculturalist, postracial, and pro-miscegenation. Jon’s club-prowling buddies include a token black (Rob Brown) and an indeterminate (Jeremy Luke). Seemingly every sexual coupling in the film is interracial in one way or another.

3. Pro-slut/anti-marriage. The only sexually well-behaved woman in the movie is Jon’s mother (Glenne Headly), who, however, appears to feel somewhat neglected in her marriage. Despite a flippant acknowledgment that “real pussy can kill you”, Jon (along with the film) appears to believe that a condom makes him invincible. Don Jon‘s idea of a girl playing hard-to-get (necessitating “long game”) is Barbara bringing Jon to orgasm by grinding her buttocks against the crotch of his pants instead of actually going to bed with him.

2. Anti-porn. To its credit, Don Jon tackles the very real problem of addiction to internet pornography, a problem which may also contribute to Jon’s difficulty with anger and impulse control behind the wheel.

1. (Ironically) anti-Semitic! Barbara’s genetic impulse to dominate the gentile expresses itself in her controlling approach to her relationship with Jon, her attempted programming of his life, and her surveillance of his computer. Joseph Gordon-Levitt has performed a valuable public service in exposing the bitch’s protocols.

Only God Forgives

Ryan Gosling, fresh off of a revelatory turn in the excellent Place Beyond the Pines, unfortunately chooses to squander his talent in Only God Forgives, playing Julian, an American expatriate in Thailand whose boxing club fronts for a narcotics ring. When his immoral brother Billy (Tom Burke) kills a girl and is murdered in turn, Julian’s disgusting mother (Kristin Scott Thomas) arrives from the States and insists that Julian seek revenge – even if this means eliminating a formidable police detective, Chang (Vithaya Pansringarm).

In a pretentious feat of style-over-substance showboating, director Nicolas Refn and his collaborators place so much emphasis on their ostentatious color schemes, self-conscious compositions, and generally gratuitous visual flourishes that they very nearly succeed in ruining what, in less limp-wristed hands, could have been a solidly gritty story of a family vendetta. Worst is that most of the actors in this nearly dialogueless drama appear to have been instructed to behave as robotically as possible, never smiling, as if every movement of every muscle is meant to convey existential angst, every second of every moment an endless Holocaust of the soul which, rather, screens as overly deliberate soullessness. The copious music of Cliff Martinez, a mixture of organic and synthesized sound, is both a blessing and a curse, as some lackluster scenes receive energy from these contributions, while others seem overly noisy where silence would be preferable.

The film does contain some very good scenes and in places achieves an adequate level of suspense. Those looking for action or for any kind of hero will be disappointed, however. An odd performance notwithstanding, the compulsively watchable presence of Ryan Gosling is, ultimately, at least half of what makes this idiosyncratic effort work to the modest extent that it does.

3.5 grudging stars. Ideological Content Analysis indicates that Only God Forgives is:

[WARNING: POTENTIAL SPOILERS]

6. Drug-ambivalent. The film passes no apparent judgment on the brothers’ drug trafficking. Different characters smoke in an indifferent manner, though Julian’s mother’s exhalations at a restaurant table would seem to be intended to parallel her disrespectful words.

5. Slut-ambivalent. While the film shows the physical danger that goes with a prostitute’s lifestyle, the representative whores are graceful and beautiful creatures who conduct themselves with elegant composure.

4. Pro-miscegenation. Julian engages in voyeurism and limited sexual contact with whores, not from any apparent apprehensions of disease, but out of a misplaced reverence for oriental pussy. His mother enjoys ogling Thai musclemen.

3. Pro-police. Chang, a karaoke singer, exemplifies the law enforcer as fetishized performance artist.

2. Anti-white/anti-racist (i.e., pro-yawn). Several scenes juxtapose white characters’ rudeness, vulgarity, and presumption with Asians’ dignity, good manners, or superior fighting ability. Americans and Europeans, from a sense of their own superiority and Asians’ expendability, go to Thailand to exploit its people, causing them to prostitute themselves or hire themselves out as killers. Making no secret of her feelings, Julian’s mother refers to a “yellow nigger”. The film’s perpetrators also give clear expression to their European inferiority complex and belief in the awesomeness of things Asian by giving the title and credits in Thai, with subtitle-style English credits in smaller type beneath, so that no belching American privileged to enjoy Only God Forgives will get the mistaken impression that his entertainment is any more important than some Thai guy’s.

1. Anti-family. Grotesque family relationships abound in Only God Forgives. Julian, his lascivious mother relates, was envious of her sexual relationship with his brother Billy, and lives in exile after having murdered his father at her behest. A Thai man prostitutes his daughters and may be more aggrieved by the loss of revenue than the loss of his child after one of them is killed. The sight of a retarded boy, meanwhile, reminds viewers of the potential perils of unchecked procreation. Chang appears to have a loving relationship with his daughter, but the brief screen time devoted to this is too little to counterbalance the overwhelming abundance of family dysfunction. Julian acquiesces in his mother’s call for revenge only reluctantly, and with good reason, as his acknowledgment of a pointless blood obligation precipitates his downfall.

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