The film starts with neither an upbeat pop number nor a panoramic downtown view of a major city. Instead, a cheeky disclaimer that reads, "Author's Note: The following is a work of fiction. Any resemblance to persons living or dead is purely coincidental. Especially you Jenny Beckman. Bitch." The sequence that follows, with its voiceover and flipbook-like quality, is highly reminiscent of "Amelie" (2001). The narrator acquaints the audience with the main characters by describing their respective childhoods and idiosyncrasies, and assures them that this is not a love story.
Tom Hanson (Joseph Gordon-Levitt) is a greeting card writer who dreams of being an architect. He yearns for cosmically-destined true love and trusts that finding his soul mate is the key to happiness. The woman he happens to fall for is a co-worker named Summer Finn (Zooey Deschanel), who argues that love is a fantasy. The two agree to disagree on their philosophies on love, but their relationship eventually blossoms into an office romance. While Summer makes it clear that she is not looking for anything serious, Tom tries tirelessly to persuade her that they are meant to be.
Gordon-Levitt's Tom epitomizes a person gone blind with infatuation. He cannot imagine finding another quirky woman like Summer, with whom he runs through IKEA pretending to be a couple at home. He lists off the little characteristics that he loves about Summer in a sequence that struck me as incredibly unoriginal, but just as I began to doubt whether "(500) Days" would truly steer clear of cliches, a quick shift from sweet to bitter caught me off guard.
Summer ends their relationship without warning, leaving Tom to suffer through denial, bitterness and catatonia. He heads to the store for Twinkies and liquor in his bathrobe and, on his way home, yells at a couple holding hands on the street to get a room. In his anger, Tom announces that he hates the same characteristics that he had adored before being miserably dumped. The aforementioned sentimental montage did not seem so hackneyed once it was complemented by this inflamed rant.
"(500) Days" does not avoid cliches altogether, but they are not the focal point of the film. The filmmakers instead use them to add realism to the story, a seemingly ironic strategy that works. The film is reflective of real life in that the storytelling jumps back and forth between the smooth sailing and conflict-riddled periods of the 500 days of the pair's relationship. No saccharine segment lasts too long.
Later in the film, Tom's depression lifts when he attends a wedding with Summer. This moment is usually the climax of a typical romantic comedy where misunderstandings are cleared and the couple is reunited to kiss in slow motion, but a surprise lays in store for viewers.
Tom's two best pals McKenzie (Geoffrey Arend) and Paul (Matthew Gray Gubler) are crucial to his healing process and provide a bulk of the comedy. Another delightful character is found in Tom's precocious, advice-giving younger sister Rachel (Chloe Moretz), who proves that being older is not always correlated with wisdom. With these characters, the film reinforces the importance of close confidantes whose constant presence is often taken for granted.
The film is entertaining because its plot reflects the laughter and pain that arise while dealing with everyday obstacles. In the end, "(500) Days" shows that the most important step in coping with disappointment is remaining open-minded to new encounters and opportunities. Far deeper than the formulaic romantic comedy, "(500) Days" is a breath of fresh air and a burst of energy.
"(500) Days of Summer" is now playing at the Nugget.
