As easy (and perhaps even fun) as it may be to pick apart Don Jon, we really have to hand it to Joseph Gordon-Levitt, who went out on a limb in his directorial debut and made a comedy that may be filled with imperfections, but compensates for it through some very interesting decisions made as a first-time director. He has become something of a figure of slight ridicule in recent years, with his go-getter attitude being accused of making him seem like he is trying too hard, and some of the choices he makes for his characters leading audiences to wonder when he will ever find his niche. Don Jon may not be the kind of film Gordon-Levitt should be aiming to make continuously, since it’s a very specific kind of storytelling that is confined to a particular time and place. Still, it does indicate that, beneath the veneer of this seemingly bizarre comedy about human sexuality, there is a firm, meaningful story of self-realization, a romantic aspect that doesn’t necessarily have anything to do with the love between two partners (whether they be seeking carnal or emotional satiation), but a deeper kind of individualistic respect for oneself and their environment, which has far more impact on our development as adults than we’d normally be led to believe. Don Jon is a massively flawed film, but it’s not alone in this regard. Like many of the more substantial works that manage to rise above their imperfections, it is guided by a sense of heartfulness and tender approach to its underlying themes, to the point where it feels simply delightful, even at its most conventional.

Gordon-Levitt clearly has talent as a writer and director – from the first moment, it’s clear that Don Jon is a well-made film. There really isn’t much point in deconstructing the film to uncover the flaws that lurk beneath, since it becomes quite petty to point out all the problems that are part and parcel of any directorial debut. It’s much more pleasant to explore how the director managed to tell a story that he clearly believed in, even if he has made it clear that it’s a work of absolute conjecture (steering clear of the tendency of many actors-turned-directors to make their debut behind the camera with vaguely autobiographical works). His intense study of the film medium and his friendship with several notable filmmakers with whom he collaborated in the past, equipped Gordon-Levitt with all the skills necessary to bring this story to life, even if he knew it was a risk – audiences aren’t hardwired to flock to a film that so notably advertises its premise being centred around a sexual deviant. Starting his filmmaking career with a small independent comedy is a smart choice, since it allowed him the comfort of having a proverbial “safety net” (since these films always tend to follow a particular formula and usually do succeed to a decent extent), while still allowing him to play around with form and content, turning Don Jon into a very meaningful and funny film that has enough heart to propel the entire story, even when it is quite convoluted and heading in a direction that may frequently bewilder viewers and cause them to question whether this main character is actually worth our time.

At a cursory glance, Don Jon seems like a questionable film based solely on the premise – the story of a young man whose entire life is defined by his middle-class Italian-American upbringing, as well as his penchant for objectifying women (both in reality and online, in the form of his pornography addiction), so it’s understandable why some will steer clear of this film. However, to his credit, Gordon-Levitt navigates that impossibly thin thematic tightrope, creating the embodiment of unintentionally toxic masculinity in the form of the titular character, and manages to avoid anything too controversial. He takes care to infuse the film with a kind of sensitivity that is important to the discussions he is trying to incite, and perpetually adds layers of nuance onto a very bawdy storyline. The film humanises the main character, rather than excusing his behaviour – Jon is not a particularly perfect individual, but he does have a conscience, and is well-aware of his flaws. His behaviour is never justified, and the film frequently points to his weak inability to make active changes in his life, but in the same way, the women around Jon are not portrayed as grotesque, gold-digging harpies, but rather firmly independent and meaningful individuals who have their own shortcomings. Gordon-Levitt makes sure that every character means something more than the thin archetypes from which they were constructed. Don Jon has the tough conversations around sexuality, but in a format that is funny and meaningful, which creates an environment where the honesty underpinning this work overcomes the occasionally borderline controversial aspects, the perfect balance being found between provocative comedy and kind-hearted candour.

As much as we can judge this film based on his work as a director, Don Jon features one of Gordon-Levitt’s stronger performances in the titular role. Perhaps the idea of the actor, who is normally known for playing more cerebral, introspective characters, playing a bawdy, macho gym obsessive requires a bit of a leap of faith, but it somehow works, as he turns in a strangely brilliant performance that fits perfectly with the context of the film that surrounds him. He has always been an actor who has focused on showcasing his range, and Don Jon is a perfect example of how he could step out of his comfort zone, even when playing a character that wouldn’t appear complex at first glance. He’s joined by two very good supporting performances from his co-stars, namely Scarlett Johansson, who plays the part of the manipulative floozy who is only interested in having a partner to do her bidding, and the always wonderful Julianne Moore, who lets go of all her inhibition and embraces the kind of role that she does best, a free-spirited woman who may not be perfect, but is always fascinating. As much as we invest in Jon’s journey of self-actualisation, it’s his co-stars who do most of the heavy-lifting, setting the tone for the film and helping guide the story along, which isn’t always the most simple process, especially when dealing with characters that clearly started their existence as mere stereotypes. Don Jon earns a lot of goodwill from its actors, who are responsible for elevating the film and making it such an enduring work of culturally cohesive storytelling. They all handle the more controversial subject matter with panache and refuse to play to the rafters, which would have been extremely easy for a film with a premise as seemingly absurd as the one found here.

For what it’s worth, Don Jon is a perfectly decent film, a charming comedy that may not break any new ground or be revolutionary in any way, but keeps us engaged and entertained for its duration, which is more than many comedies tend to do. Perhaps it doesn’t signal that Gordon-Levitt is on the precipice of being one of our best young directors (and, surprisingly, he hasn’t stepped behind the camera again since, at least not in the form of a major feature film), but it does showcase his talents as both an actor and filmmaker, every scene of this film feeling essential and impactful. It’s a solid entry into a steadily growing canon of independent comedies that are not afraid to have serious conversations – and the frank and unflinching manner in which Don Jon addresses addiction to pornography, in a way that is honest but still extremely funny, is worth the time of any prospective viewer who wants to see a very honest, but still quite entertaining, exploration of human sexuality. Its point of view may not be essential (the trials and tribulations of a charismatic young man and his challenges in the world of dating is barely revolutionary), but it still functions as a relatively charming work, and a decent debut for an artist who clearly has some prowess, with even the most simple scenes in this film showing that Gordon-Levitt does have a future in directing, should he continue to pursue it.