THE DEATH AND LIFE OF JOHN F. DONOVAN: A Rare Case Of Bad Press Tainting A Not-So-Bad Movie

Placing the word ‘death’ before ‘life’ in a film’s title is an unconventional choice to say in the least, and after watching Xavier Dolan’s long-awaited ensemble drama, it becomes clear that the title not only relates to the doomed fate of its central protagonist, but somehow feels paradoxically linked to the commercial failure of the film itself, as if to say – it was over before it even began.

Dolan’s observation of a tormented actor struggling to break free from the world’s perception of his sexuality, is something of an oddity; a piece of work painted so heavily with the director’s signature style but severely lacking in the dramatic depth that made his previous films so captivating. He’s a filmmaker who’s not only become defined by his confident showmanship, but from his highly personal approach to storytelling. And now, in the midst of producing some of the most visually distinct and emotionally rich cinema of the past decade, Dolan has finally fallen victim to his own critical success. Therefore, it was only expected that the gossip-fuelled phenomenon surrounding his latest effort would spark some curiosity.

Fragments In Time

Inspired by a fan letter Dolan wrote to Leonardo DiCaprio as a child, the story follows a young boy, Rupert (Jacob Tremblay), whose uncontrollable obsession with a handsome television star, John F. Donovan (Kit Harington), ignites a secret pen-pal friendship between the two. The story moves back-and-forth between Rupert’s childhood and to the present day, where he’s now a young author being interviewed by a high-profile journalist (Thandie Newton) regarding his correspondence with the famous actor. We see glimpses of Rupert’s relationship with his mother (Natalie Portman), which is contrasted by Donovan’s distant relationship with his own neurotic mother (Susan Sarandon).

And while one would think that a cast of this size and calibre would be enough to carry the show, somehow, Dolan still finds room to stuff his story with a further array of characters, most of whom are given just enough screen time to make do with their short-lived roles. We get Donovan’s dreamy secret affair (Chris Zylka), his stern manager (Kathy Bates), and even an abrupt, ghost-like cameo by Michael Gambon, who surprisingly delivers some of the weightiest lines of the film.

Harington’s performance is just as magnetic as it is vacant; which makes sense with the personal demons he’s exploring, but we never feel more than curious about his emotions because they are buried far too deep beneath the surface for us an audience to access. Portman and Sarandon’s characters are both vaguely-inflicted with a common irrationality we often see in Dolan’s mother figures, and both actresses carry their scenes with a high quality that’s expected. It’s just a shame the unbalanced screenplay doesn’t allow them enough time to fully develop.

Fruits Of Labour

To say that the film lacks any moment of self-indulgence would be a far cry from the truth, including a handful of sequences where Dolan resorts to what he knows best to redeem the film’s cut-and-paste formula. Perhaps the most frustrating being the constant assault of unnecessary needle drops – we get it Xavier, but we don’t need the lyrics of an Adele song to tell us how to feel! Yet, these minor creative choices hardly work against his artistic integrity.

Dolan’s capabilities as a talented storyteller have been proven in his past work, which is why his half-hearted efforts here only feel mildly tarnished. It’s clear that the production got lost somewhere along the way, but one can’t help but think that its overall intentions were supposed to be more sincere. Then again, that’s not to say admirers of the young auteur’s work won’t find moments to relish in as well. Between the fiery melodrama and the more sombre moments of clarity, Dolan confirms he’s still master of visual poetry and delivers on that front.

Shot on stunning 35mm film, Andre Turpin’s cinematography is nothing short of exquisite, capturing the sad and lonely world of Donovan through a wonderful, highly saturated spectrum of warm and cool colour palettes. From the race car blue of an apartment door to the golden flares of street lighting against skin, it’s impossible not to be swept up in the gorgeous scenes that Dolan and Turpin have created together, regardless of how disconnected they may feel.

It’s Only The End Of The Film

At once both more personal and ambitious than Dolan’s previous films, it’s unfortunate that The Death & Life of John F. Donovan only scratches the surface of the story it’s trying to tell, because there are some interesting questions raised. Yet, despite a confusing lack of focus and his inability to separate himself from his art, Dolan’s kaleidoscopic vision feels much like life, in that, moments of shattered pain are matched by moments of beauty, time can pass within the blink of an eye and the ending of one density can lead to the miraculous birth of another. It’s far from perfect, but still manages to be a fascinating attempt at exploring sexual identity, isolation and the consequences of fame.

What do you think about Xavier Dolan’s latest film? Do you think it’s worth recommending, and if so, why?

The Death and Life of John F. Donovan was released in US and the UK on the 13th of December, 2019. For other release dates, click here.