500 Days of Summer is a cool movie. Sweet, funny, poignant.
It’s lovely to look at. Maybe I’m crazy, but everything looked a little sepia and lacking in contrast. A little vintage-y. Certainly Summer’s styling was vintage-y, but as I watched the film, I definitely got the idea its makers had a reverential yearning for the aesthetics of Ye Olde 50’s and Early 60’s.
Yes, Zooey Deschenal’s Summer is one part Manic Pixie Dream Girl, but she’s 99 parts Intriguing Girl Who Was Mostly Pretty Up Front about Her True Feelings Girl. She borders on being a little precious–Hell, the whole film does–but she still comes out OK in the end.
Mostly because I think the film had this detached but loving attitude towards all the characters. At no point did I feel like things were getting too cute or too maudlin. Although there were a couple of terrifically poignant scenes. One was a mere few-second vignette to give us insight into Summer. You’ll know it when you see it. Although maybe I’m just biased. Because during those few seconds I was Summer.
There is pragmatic lack of misanthropy in this film and I dug that. Not that misanthropy doesn’t have its place, it just didn’t belong here.
500 Days of Summer made me forget that this song is dorky and I should totally shun it:
Now, I dig it and have played it–unashamedly Perhaps 500 Days of Summer has special powers.
500 Days of Summer made me remember that when you meet someone and you start to fall in love, every new thing you learn about about that person feels like a gift. And it seems–at the time, at least–like it’s always some great gift. Like a Snuggie or a cheap replica of Kate Middleton’s engagement ring. OK, I went for the joke there, but you know what I mean. It’s pretty awesome falling in love.
500 Days of Summer made me appreciate anew how intrinsic a soundtrack has the potential to be to a film. On their own, I might have found many of its songs insipid and whiny and emo, but, damn…when they played alongside those sweet, lovely frames, I sometimes got chills.