The title of Marc Webb's 500 Days of Summer refers to the end, beginning, and middle of the relationship of Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel). It's a story told out of order, because that's how we view our own memories. The movie is not so much about the romance as it is about Tom trying to figure out why it didn't work. I am not spoiling anything by saying the relationship in the movie does not last, as a deep-voiced narrator boldly proclaims, “This is not a love story,” right from the start.
After the movie starts, on day 488, we go back to day 1. We see Tom working at a greeting card company, and he sees Summer, the newly hired assistant. Tom is the type of guy who believes in the one true love out there for him – perhaps that's why he decided to write greeting cards instead of pursuing his dream of being an architect, but I'm getting ahead of myself – and he instantly falls for Summer. Despite her clearly stated position that she doesn't want anything serious, she also develops an interest in him. And why not? He's nice, witty, smart, and attractive, just like her, and they look good standing next to each other.
For the most part, Summer remains at arms length Webb and screenwriters Scott Neustadter and Michael H. Weber are framing everything through Tom's eyes. Luckily for them, Joseph Gordon-Levitt is the perfect man for this role. He sells every moment beautifully, from the unforgettable Hall And Oates themed post-coital celebration to the ingenious and crushing split screen sequence highlighting the difference between hopes and reality. Deschanel, too, is marvelous as the beautiful and baffling Summer. Her eyes are extremely expressive, and as we rewatch a few key moments, we see more complexity and uncertainty there than Tom or we wanted to see the first time.
Together, Deschanel and Gordon-Levitt are a joy to watch. No histrionic displays, slapstick, or crude bodily humor, they look and act and feel like a real modern couple. There is a scene in which Tom is showing Summer certain buildings he likes to look at in the city, and telling her things he would've liked to do if his architectural ambitions had worked out. She wants him to draw a picture, but they don't have any paper on hand, so she offers her arm. It sounds cornball, but the way it's played and directed makes it genuine.
The film has several elements adopted from earlier films, and it does not try to hide this fact. These previously seen elements are not used due to lack of originality. Tom's view on love was built around the music of The Smiths and The Graduate, as much of the audience's view on love was built on romantic comedies like, perhaps, When Harry Met Sally.... or some of the other movies referenced here. The out-of-order storytelling, recalling films like Annie Hall, is much more than a gimmick. Tom's memories of the relationship are shown as series of highs and lows, with one moment at the beginning of the relationship contrasting sharply with a similar moment at the end. That being said, it's unfortunate that the filmmakers decided to adopt some things that don't work as well, such as the comedy relief friends or the precocious little sister dispensing relationship advice. Thankfully, these things only appear occasionally and do not distract from the emotional reality and honesty of the film.
I don't believe 500 Days of Summer is a film which tries to be profound on the subject of love and relationships, but that's okay. It certainly doesn't say anything new, borrowing so heavily pieces from earlier films. And that's okay, too, because the borrowed pieces are assembled so nicely. I've seen many movies that tell this story and expound on the same lessons, but I still smiled as the credits rolled, hopeful that Tom learned something from this experience. Sometimes it's just nice to spend time with a witty movie cleverly directed and charming characters perfectly played.
