(500) Days of Summer would be the best romantic comedy of the year but for the small fact that it’s really the perfect anti-romantic comedy.
It casually dispenses with the great mind-numbing cliché of romantic comedies whereby a secret comes to light in the second act that scuppers the relationship until a grand romantic gesture is made in the third act by one of the sundered lovers which leads to a happy ever after reconciliation, and pass the sick-bucket please. Here, thanks to a sublimely fractured chronology, we see office assistant Summer (Zooey Deschanel) and greeting card writer Tom (Joseph Gordon-Levitt) break up (because Summer’s just not happy anymore, not because of some contrived plot device) before we’ve even seen them get together as a couple. Not of course that Summer ever admits to herself or Tom that they are a couple. A refreshing change from rom-coms featuring the male with commitment issues here we have the (common in real-life but scarce on the ground in movies) female with terminological issues: ‘boyfriend’ is out, it’s more ‘the guy I’m seeing’, or ‘the guy I’m sorta seeing’, or ‘this guy I’m hanging with, I may possibly start seeing in the future, I don’t really know…’
Events occur mostly chronologically but with jumps forwards and backward to replay events so that we get an emotional oomph from scenes we thought we understand playing differently in context, like Summer being bored by Tom’s quirky humour which it transpires is a riff she had started earlier. It is important to note that this film is not a non-stop laugh marathon, but it is always warm, and filled with touches that would not look out of place in Annie Hall; such as an extended split-screen sequence depicting Tom’s expectations of a party hosted by Summer versus reality, a sparingly used droll narrator, Tom’s lists of Summer’s traits that he adores being identical to his post-breakup list of Summer’s traits that he despises, and Tom’s friends desperately calling in his 12 year old sister Rachel (wise beyond her years, of course) for an intervention to stop his distraught crockery-smashing.
Writers Scott Neustadter and Michael H Weber penned Pink Panther 2 and this is extremely clever atonement because (500) Days is a systematic deconstruction of the tropes of rom-coms which annihilates the concept of idealised soul-mate romance they perpetuate. Zooey Deschanel is luminous when she needs to be but her character is also deeply flawed, as indeed is the always excellent Gordon-Levitt, whose everyman Tom has settled for second-best in life and thus treats Summer as a Hollywood style ticket to redemption. The ending manages to be hilarious, realistic and life-affirming while being deeply subversive of the genre. If you’re sick of the Sandra Bullock rom-com conveyor belt then you should catch Deschanel and Gordon-Levitt being both charming and emotionally realistic and soak up the feel-good factor of an indie rom-com with the most joyous musical number since Enchanted’s Central Park extravanganza.