500 Days of Summer Reviews
It is subtly thoughtful and moving because of how Tom portrays qualities of all people who undergo breakups; stubborn, lazy, and mopey. And how his non-linear narrative arranges his memories of his relationship from worst to best.
The choice of using a non-linear style of jumping back and forth between scenes and memories is creative and realistic in this film because it is timely for it's character Tom, though confusing at first.
The screenplay is creative and artistic in it's approach in portraying how Tom views his relationship. On a certain scene, he's got a musical sequence to the groove of "You Make My Dreams Come True." And then another scene, a black-and-white-silent-film-type of scene that' emulates a confessional.
Whether you're about to watch this for the first time, just finished watching, or hitting the replay button, know that this movie is anchored on Tom, and how he champions his convictions about love and destiny. The screenplay and the non-linear fashion, that everyone talks about, is solely and mutely told from Tom's frame of reference-His expectations that stem from pop culture, how his expectations have been inscribed to his character, and how his expectations fail him.
It's ending scene is memorable because the movie presents it's message in an inspired, thoughtful, and abrupt fashion.
I would definitely recommend it.
As the entirety of subversive romantic comedy "(500) Days of Summer" is told in flashback, kicking off at the tail end of a failed romance, it would perhaps prefer to focus on the finer feelings of its central doomed relationship to its slow burns of heartbreak. But because it's eerily close in its resembling to one's memory bank - it tells of the five-hundred day long relationship between Tom (Joseph Gordon-Levitt) and the eponymous Summer (Zooey Deschanel) in a non-linear style that jumps back and forth between seemingly unrelated days (from Day 2 to Day 250, for example) - there's never a moment not shaded by longing bittersweetness, by empathetic relatability.
Because we've all had relationships like the one spotlighted in "(500) Days of Summer." An underdog in a genre that takes a liking to perfect matches and champions the unrealistic ideology that is the soulmate, in place is the kind of unbalanced courtship wherein one party is deeply in love while the other is consistently unsure of their true emotions and eventually becomes a heartbreaker.
The looming relational train wreck, immediately (and bitterly) is autobiographically revealed at the film's opening, but even without it would we be easily equipped to tell that Tom and Summer's love is distinctly one-sided - Tom would kill for the titular, quirky brunette beauty without hesitation, whereas Summer, despite obviously caring a great deal for the beau she does, in her defense, declare that she doesn't much want to begin with, isn't so sure she can commit to making such declarations surrounding the opposite party anyway.
And yet the tragicomic trappings of "(500) Days of Summer" arguably make it more memorable a romantic comedy. How energizing it is to have a genre gem in which the leading couple isn't actually made for each other, in which happy endings aren't so certain in their happily ever after positioning, in which the male hero's more than an idealistic pile of charm and in which the female of interest has more to worry about than her romantic life.
The screenplay, by Scott Neustadter and Michael H. Weber, is appealingly offbeat, packed with charismatic artistic detours that include a musical sequence and a talking head style, black-and-white documentary imitating confessional. The direction, by Marc Webb, enchants without running into schmaltz. Levitt is humanely congenial, Deschanel lovable if damaged.
But by "(500) Days of Summer's" end are we, at odds with its mostly impeccable technical and artistic risks, left feeling as though it could be something more than it is. Pestering me is the notion that we could have been presented with a primary cinematic romance that didn't so often take on the tone of lovestruck boy running after girl who doesn't like him all that much (Summer's various states of disregarding paired with her brushes with ingenuity and authenticity make her a sometimes difficult character to understand - though I suppose that could be precisely the point). Badgering me is the idea that the characterizing of the beginning and ending of Tom and Summer's relationship is so strong that the juice coming in the middle almost seems nonexistent (which is, therefore, a detrimental setback). Still, the movie's beautifully nonconforming and oftentimes categorically superior - it's genre fodder a cut above from its formula driven peers.
It gives an honest and sincere view on the complicated process of falling in love with somebody, helped by the innate charisma of Joseph Gordon-Levitt and Zooey Deschanel.
The movie is presented in a creative, non-linear fashion taking the viewer back and forth through the 500 days that Tom experienced with Summer, culminating in the 500th day, which brought the entire movie full circle. The ending scene is ONE OF THE BEST of all-time and truly presents the message of the movie: that although a relationship you were once in, which ended abruptly and hurt you, but brought you so many happy memories, dwelling on what once was will only hurt and cut you deeper and prevent you from seeing what new memories and opportunities lay right in front of you.