There are mild spoilers in this review, but then again, can you spoil a movie where you learn right away that they break up? Read at your discretion.
I can’t claim that (500) Days of Summer will resonate with everyone because it will not, but its sincere, straightforward telling of an atypical movie story made me smile sadly throughout. I recognized both characters as roles I’ve ended up taking in my own relationships, but mostly loved that a female character who spoke her mind throughout, expressed her thoughts truthfully, and eventually found happiness was not vilified for her choices and opinions.
The New York Times called the movie “thin,” exemplified by main character Summer’s lack of dimension, but I think in this case A.O. Scott missed the point. The movie has some clichés — not counting obvious ones like a tongue-in-cheek dance number or “Why isn’t he calling?”/”Why isn’t she calling?” splitscreen of forlorn insomnia — that I believe are intentional. Summer does not have any obvious friends, and has had relationships with one college guy, one girl, and one foreigner; her counterpart Tom has two stalwart buddies, a precocious pottymouthed sister, a job he dislikes but succeeds at, and a true calling in the arts. Tom and Summer do terribly hip things together and Tom even awkwardly sums them up at one point (“But we held hands in Ikea!”), highlighting what a dreamworld he lives in during his nonrelationship with a perfect girl who loves the Smiths.
Really, if it didn’t play well on screen, this would all make me want to hurl. And it didn’t make me want to hurl at all. You see their world through Tom’s eyes, which are, let’s be honest, deluded. He has fallen for the most charming girl in the room (explained by a quick flashback) and reads everything about her to mean she thinks he’s special. But perhaps most interesting is the fragmented, postmodern way in which the movie is assembled, turning it into a hybrid whodunit romance. Remarks made early on are explained in later fragments, glimpses into Tom and Summer’s time together illustrated in more and more full color as the movie progresses. Tom’s sister asks him to back up and reexamine the relationship between him and Summer and, thanks to the already established structure, to do so feels natural. In fact, the entire movie felt as though I was remembering along with Tom from some point in the future.
Summer explains to Tom up front exactly what she does or doesn’t want, and by that point you know he already doesn’t care — he’s spent weeks building up courage to even speak to the loveliest girl at the office, let alone quibble with her relationship preferences once his foot is in the door. And this is what I took away from the movie, what spoke to me most poignantly: The gulf between their feelings was immense, while Tom ignored every sign of what was happening and Summer acted, for the most part, honestly. He so earnestly fell headlong into his perception of their relationship that he lost sight of the real girl next to him in it. While Tom and his sister play Wii Tennis (no, really), his sister says, “Just because she likes the same bizarro crap you do doesn’t mean she’s your soulmate.”
I recently went through a migraine of a breakup where the primary issue was a lack of connection — one person says something and is listened to but not heard, nodded at but not understood. At one point Tom goes on a blind date, and the very lovely, much suffering girl pulls him out of the bottle long enough to say, basically, “She told you what she wanted, you agreed to it, and it didn’t work out?” The point is clear.
4 responses