During the opening credits of this Roland Joffé (The Mission, Vatel) version of The Scarlet Letter, a certain snippet of text appeared that allowed me to forgive quite a lot of the nonsense that would follow. The text read: “Based Loosely on the Novel by Nathaniel Hawthorne”. Loosely. So what the hell — why not have the American Indians rescue Hester from the gallows? Alas, it is with deep shame that I confess I find this bastardization completely re-watchable.
Future Oscar-winner (I’ve been saying this since 2001’s Manic) Joseph Gordon-Levitt makes an auspicious writing/directing debut with Don Jon, a character study of a young New Jersey guy whose addiction to pornography takes its toll on his relationships with women. Gordon-Levitt pumped up to play the title character, but I hope he drops the muscle mass soon — his head’s too small for a body that big! The film is superbly cast. Scarlett Johansson impresses me for the first time ever here, playing a sex-pot who knocks Jon off his feet. Tony Danza and Glenne Headly are great as Jon’s parents, and the ever-reliable Julianne Moore is memorable as a quirky but sullen older woman who competes for Jon’s affections as the story wears on.
Hollywood’s most celebrated melodrama is still entertaining today. Vivien Leigh does a remarkable job playing one of the most volatile heroines in film history. Scarlet O’Hara begins Margaret Mitchell’s story damned spoiled, and I’m not sure she ever really learns her lesson, but Leigh renders a subtle transformation while always remaining true to character. My other favorites are Olivia de Havilland (sweet in everything she’s in), Hattie McDaniel (who deserved her Oscar), and Butterfly McQueen (for bringing a little comedy to the proceedings). I don’t get Leslie Howard as Ashley. For being the crux of the movie’s romantic triangle, I’d like to have known what was so darned special about him. Max Steiner’s music, especially the Tara theme, is among the most memorable ever composed for film.
