(500) Days of Summer Review At Amazon.
Friday, November 27th, 2009 |
(500) Days of Summer Review At Amazon..
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“(500) Days of Summer” is a wonderfully refreshing experience, a romantic comedy that doesn’t follow the rules of a romantic comedy. It’s inventive, bright, and inspiring, a narrative of the dualities a young man lives with on a daily basis. On the one hand, there’s the duality between falling in treasure and believing that worship doesn’t exist; Tom (Joseph Gordon-Levitt) grew up believing in fate bringing soul mates together whereas Summer (Zooey Deschanel) grew up not believing in remarkable of anything, least of all lasting relationships. On the other hand, there’s the duality between what one would like to happen and what actually does happen; we often go through life with expectations, even though we know deep down that most will never be met. Tom is in a tug-of-war between his romantic fantasies and the reality that Summer doesn’t own in apt worship.
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Levitt’s performance is a revelation. He plays Tom with sincerity. Tom is approachable and beneficial natured, highly confident yet not so above-it-all that he can’t be desperate and wretched at times. He writes greeting cards for a living but has always dreamed of becoming an architect, and he often finds inspiration from the Los Angeles skyscrapers that surround him. His anecdote unfolds in powerful the same intention a memory does, with fragments that pop up all out of sequence until the reality of those 500 days become obvious. Some may be confused by this, but support in mind that memory and chronological order never go hand in hand. This is especially factual when reflecting on a relationship. Tom continuously thinks assist trying to invent sense of it all, only to kill up considering the possibility that Summer was legal all along.
Deschanel, who seemed so awkward in films like “Yes Man” and “The Happening,” here is perfectly cast. Summer is charming, fun, and sweet, but she’s also mysterious, distant, and casual about life. She dates Tom and even makes worship to him, yet she will never view him as anything more than a friend. She’s with him not because she’s in love–she’s unbiased having fun while living in the moment. It’s about all she can do given the fact that she can’t care for anything, effect for the length of her hair and the fact that she can slash it off without feeling anything. There are a few acquire moments, however, when she connects with Tom at a more personal level, entertaining him into her artsy apartment and eventually opening up about past experiences. This makes Tom feel appreciated, as he believes, perhaps correctly, that she doesn’t go this far with too many people.
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By the raze of the film, Tom feels like someone we’ve gotten to know. Summer, on the other hand, remains enigmatic, underscoring the uncertainty engrained in any kind of relationship. There are times when Tom thinks he has her figured out. There are other times when it seems as if they’ve never even met. Loving relationships are based on compromises, and while Tom would be willing to invent a few, Summer most definitely would not. She does what she wants when she wants it. This is admirable, but when matters of the heart are fervent, the line does need to be drawn somewhere.
Tom’s emotional roller coaster dash occasionally gets the visual treatment. In one scene, he becomes the star of a musical number featuring dancers and a cartoon bluebird. In another scene, he imagines himself as characters in unlit and white European art house films by Ingmar Bergman and Federico Fellini. The single most creative shot has him standing in the middle of the street while the buildings transform into an architectural sketch, distinguished like the one he drew on Summer’s arm. Director Marc Webb treats these scenes not as showcases of special effects but as special moments of heightened reality, which is fitting given the battle waged between what Tom desires and what he actually gets. The most distinct interpretation of this theme is a split-screen image slow in the film, one side marked “Expectations,” the other side marked “Reality.”
These extra touches get this movie luscious, but its Gordon and Deschanel that create it a joy to study. They have chemistry. You maintain in them as trusty people and not merely as characters. They point to unbiased how talented they are as actors, although credit must also be given to Webb’s direction and the screenplay by Scott Neustadter and Michael H. Weber. They breathe life into “(500) Days of Summer,” a film we’re told honest off the bat is not a care for chronicle. Nor should it be; we’ve seen appreciate stories before, and while they more or less work as challenging distractions, rarely do they provide insight or even traces of plausibility. This movie is more ambitious than that. It aims to say a narrative without resorting to cheap gimmicks like cliché dialogue or contrived plotlines. The waste result is a epic that’s often silly, often thoughtful, and always compelling.
Tom Hansen (Joseph Gordon-Levitt) falls head over heels for Summer Finch (Zooey Deschauel) the unusual girl working at his office. The tale of their relationship is told in non-chronological order, including a few highly novel scenes such as Tom turning the streets of LA into a chorus line following his first night with Summer. You know from the inaugurate that Tom and Summer are mosey to split up. But the movie comes together nicely in the demolish, showing that when one chronicle ends another is stir to launch.
One thing I really like about this movie is that’s it’s the guy who is the hopeless romantic and the girl who remains emotionally distant. This inequity with the usual male-female stereotypes is refreshing and something I experienced myself when I was a young man. The movie is also quite nuanced and contains numerous references to classic literature, classic films and classic rock. In other words, it’s method smarter than the usual Hollywood romantic comedy. It’s also more comical and had me laughing out loud on several occassions. I do have to admit that the non-chronological sequencing of the 500 days left me dizzy at times and how worthy you like this movie will depend, to some extent, on how mighty you can identify with the main characters. But this is a well made movie and one friendly of seeing.
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