Screen Scene: (500) Days of Summer

Do not let the title fool you. This is not some flick about an endless summer. It also isn’t some sappy boy-meets-girl, isn’t-love-grand fairy tale. “(500) Days of Summer” is the most visually pleasing, musically entrancing reality check a movie studio has offered in quite some time.

Much to the dismay of Taylor Swift, this is no love story but rather a “story about love.” Summer (Zooey Deschanel) is no lady-in-waiting. If anyone embodies the typical feminine qualities found in romantic tales, it would be her co-worker and secret admirer, Tom (Joseph Gordon-Levitt). Tom has quite possibly TiVo’d one too many episodes of “The Bachelor,” because his unrealistic expectations for love inevitably set him up for disappointment.

The moment he lays his eyes on Summer (cue the lovely sounds of Regina Spektor), he knows she is what his lonely little existence has been lacking. Despite his job as a greeting card writer, Tom’s way with words doesn’t translate into his interaction with Summer. He struggles to find a reason to talk to her until their drunken office karaoke night where, once again, music brings these two together.

Although Summer is a self-proclaimed independent woman with no desire to partake in any kind of “serious” relationship, she initiates a make-out session with Tom in their office copy room, planting a seed of hope in his mind that she might come around.

We quickly take a ride on Tom’s emotional roller coaster and watch as he holds out, for 500 days no less, for Summer to change her noncommittal ways.

Being heard, not seen, is what the film’s third leading character, the music, does best. Whether it’s The Smiths elevating the standards of typical elevator music, or The Temper Trap adding a surge of optimism to a scene with the blasting of their “Sweet Disposition,” the music clearly reflects each emotionally charged moment in the relationship. Describing it as a soundtrack would be an understatement.

It’s quite refreshing to watch as the male character expresses his relationship concerns and exposes his insecurities. The typical female-centered, “He’s Just Not That Into You” approach to modern day rom-coms is missing, and thank goodness for that.

Taking this theme of gender role reversal even further is the presence of Tom’s little sister. She cannot be a day older than 12 yet she remains the voice of reason throughout his distress and Summer-induced heartache.

The archetypal images of Summer and Tom are a drastic contrast to their atypical relationship. It’s easy to get hypnotized by Summer’s porcelain skin, the dramatic flips of her dark flowing hair and her hyper feminine wardrobe, but watch out ““ external appearances are a cheap trick by the filmmakers.

Between the flashbacks and forwards of Tom’s days with Summer lies a story everyone can lose themselves in. We can practically see Tom’s heart sewn onto his sleeve, but just in case there was any room for uncertainty, the film’s music fills in the emotional gaps.

Love story. Fairy tale. Call it what you want. “(500) Days of Summer” is a lot more honest and accurate than anything Walt Disney could whip together. And the added bonus? You will actually want the songs of the film to get stuck in your head.

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