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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, intellectual, and keen, a memoir 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 treasure 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 distinguished 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 absorb in upright treasure.
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Levitt’s performance is a revelation. He plays Tom with sincerity. Tom is approachable and obedient natured, highly confident yet not so above-it-all that he can’t be desperate and sad 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 myth unfolds in remarkable the same plan a memory does, with fragments that pop up all out of sequence until the reality of those 500 days become positive. Some may be confused by this, but hold in mind that memory and chronological order never go hand in hand. This is especially honest when reflecting on a relationship. Tom continuously thinks support trying to effect sense of it all, only to kill up considering the possibility that Summer was true 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 appreciate to him, yet she will never contemplate him as anything more than a friend. She’s with him not because she’s in love–she’s honest having fun while living in the moment. It’s about all she can do given the fact that she can’t like anything, place for the length of her hair and the fact that she can gash it off without feeling anything. There are a few bewitch moments, however, when she connects with Tom at a more personal level, involving 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 build 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 alive to, the line does need to be drawn somewhere.
Tom’s emotional roller coaster mosey 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 dim 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, great 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 certain interpretation of this theme is a split-screen image leisurely in the film, one side marked “Expectations,” the other side marked “Reality.”
These extra touches obtain this movie palatable, but its Gordon and Deschanel that build it a joy to peer. They have chemistry. You own in them as loyal people and not merely as characters. They display honest 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 suitable off the bat is not a savor sage. Nor should it be; we’ve seen savor stories before, and while they more or less work as tantalizing distractions, rarely do they provide insight or even traces of plausibility. This movie is more ambitious than that. It aims to deny a record without resorting to cheap gimmicks like cliché dialogue or contrived plotlines. The raze result is a epic that’s often humorous, often thoughtful, and always compelling.
Tom Hansen (Joseph Gordon-Levitt) falls head over heels for Summer Finch (Zooey Deschauel) the novel girl working at his office. The memoir of their relationship is told in non-chronological order, including a few highly fresh scenes such as Tom turning the streets of LA into a chorus line following his first night with Summer. You know from the commence that Tom and Summer are run to split up. But the movie comes together nicely in the destroy, showing that when one account ends another is accelerate to originate.
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 disagreement 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 draw smarter than the usual Hollywood romantic comedy. It’s also more comic 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 considerable you like this movie will depend, to some extent, on how noteworthy you can identify with the main characters. But this is a well made movie and one obliging of seeing.
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