Trivia

The film has the most kisses in film history, with John Barrymore kissing Mary Astor and Estelle Taylor a total of 127 times.

Although this was the first feature film with a Vitaphone soundtrack (therefore being the first film with a completely synchronized soundtrack), it is by no means the first sound film. The first sound film can be dated back to 1895; the process was re-discovered and improved by a French company (using a gramophone) in 1910. In 1913 Thomas A. Edison announced that all the problems of sound films were solved, and showed what he called "the first sound film." As in the earlier efforts, Nursery Favorites (1913) had a gramophone that appeared to synchronize with the film. There was one problem: the film was projected at the wrong speed, and the soundtrack was slowed down inadvertently. This problem happened all too often, and a frustrated Edison abandoned his process.

In 1921 D.W. Griffith employed various experts to film a sound introduction for his film Dream Street (1921), which still exists, and the performance went off without a hitch. Griffith soon stopped using sound because he thought it was financial suicide, stating, "Only 5% of the world speaks English, so why should I lose 95% of my audience?"

However, by 1925 sound had arrived in the form of radio, and it was inevitable that film would follow. Movie studios tried various innovations to keep audiences coming (Technicolor, wide screen, etc.). Warner Brothers, then a lesser film company, bought the old Brooklyn-based Vitagraph Studios and its all-important network of 34 film exchanges (the film distribution network vital to each studio) in 1925 and laid out plans to become a dominant force in the film industry. Sam Warner, one of the four Warner brothers, felt the future was in sound and convinced his skeptical older brother Harry M. Warner (the money man) to throw their lot in with Western Electric's 16" disc-based recording system, forming the Vitaphone Corp. on April 20, 1926, as 70% stockholders.

Oddly, Sam never envisioned the system for voice synchronization; rather, he saw it as an economical way to add the dimension of musical accompaniment. The Vitaphone process solved the synchronization problem electromechanically, corresponding the projection speed with the recorded disc by utilizing the same motor for both devices. While cumbersome in both recording (editing was impossible) and playback (discs were fragile), Vitaphone represented the peak of technological innovation, albeit briefly. This film, the first Warner Bros. feature to utilize the Vitaphone process, debuted in a gala premiere on August 6, 1926, and while it was a hit, it signaled an industry format war unrivaled until the 1980s Beta-vs.-VHS battle. Warner's The Jazz Singer (1927) would become a monster hit 13 months later, solidly proving the public's interest in sound. However, there were several sound systems then in development and none were interchangeable; the major studios like MGM and Paramount adopted a wait-and-see attitude that persisted well into 1929. The most practical, Fox's Movietone (sound on film) system, eventually won out and Warners abandoned recorded discs in 1930 but kept the Vitaphone trademark before the public well into the 1940s.

Don Juan plants 191 kisses on various females during the course of the film, an average of one every 53 seconds.

At the film's premiere, Will H. Hays, president of the Motion Picture Producers and Distributors of America (MPPDA), contributed an on-screen introduction, Introductory Speech by Will H. Hays (1926), talking in synchronized sound, welcoming everyone in the audience to "the beginning of a new era in music and motion pictures." After that, several shorts were shown featuring the New York Philharmonic playing the overture to "Tannhäuser", violinists Mischa Elman and Efrem Zimbalist Sr., guitarist Roy Smeck, three opera shorts with Giovanni Martinelli, Marion Talley, and Anna Case, and then the feature. It was a huge success.

Roughly two years prior to this film being made, while working together on Beau Brummel (1924), John Barrymore and Mary Astor entered into a romantic affair, which ended when Barrymore met - and began dating - eventual wife Dolores Costello on the set of The Sea Beast (1926), which Barrymore filmed directly before beginning work on Don Juan. In Astor's 1959 memoir, she describes the "torment" and "agony" of working with Barrymore so closely, so immediately after their breakup, writing: "all my hopes and dreams died, and I wanted to die with them." Barrymore and Astor would go on to make one final movie together - Midnight (1939) - but never recommence their romantic relationship.