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It’s no big deal to say 500 days of summer (2009) is about a split. The film employs a non-linear tack as Tom Hansen (Joseph Gordon-Levitt) explores his year-and-a-half need to date and then gets over Summer Finn (Zooey Deschanel). The two meet at a greeting card company where they work together, enjoy a passionate romance, and then break up.The constant disconnect between the present and the past, ostensibly a way of showing the beaming development of affection in terms of fate pairings, gets old rather quickly – or at least it did for me. Annie Hall (1977) is the story of two people drifting apart. war of the roses (1989) traces the rise and fall of marriage, but this Mark Webb-directed effort is a science-class dissection. From the first scene, it’s Tom loudly declaring himself unhappy, a rejected lover, and the story is mostly about how (and if) you can get over your investment in romantic silliness. I will save your watch, though only by accepting the cruel truth about the human condition. Love is temporary.is not strange Dominate the capricious minds of men. Tom can be imagined as the distant, less eloquent cousin of Thomas Hardy’s “Hap” speaker.
If the god of vengeful spirits called me
Laughing from the sky and suffering
Know that your sorrow is my ecstasy.
The loss of your love is the gain of my hate!”Then endure, brace yourself and die,
Overwhelmed by a sense of worthless anger.
Half easier with Powerfuller than me
The tears I shed rejoiced to see me.But it’s not. How is it that joy is killed,
And why not let the best hope ever sown bloom?
— Class Casualty blocks the sun and rain,
And roll the dice Joy time groans…
These blind doomsters were easily scattered
Bliss about my pilgrimage as pain.
However, this reading subverts the canonical line. 500 days of summerA more sensible interpretation would be: First-time viewers should come to sympathize primarily with Tom. From Tom’s perspective we experience action and share emotions through relationships. Later sessions should instill sympathy for Summer, who constantly repeats that he doesn’t want anything serious. . Tom naively believes that the two are destined to be together. He projects the woman he wants to marry onto Summer rather than accepting her for who she is. Summer, by contrast, is unaware of herself and is mostly honest about her desires, but often misleads Tom. , a man named Tom).
Talk about projection! I think this reading draws people in because it shows a certain level of emotional maturity. We implicitly pat ourselves on the back for our own development if we could see how wrong they were both.
From the beginning, we see Summer as simply being herself and even being immature. (It’s all too real, but it’s also a one-to-one explanation.) During the 96-minute run, she told Tom she didn’t want to do anything serious. For example, consider the incident in which Tom hit a man in a bar. She (and most viewers seem to think so) sees this as a macho pose, trying to protect her from unwanted attention (I can’t believe Summer is with a loser like Tom). Nevermind he keeps insinuating). Upon returning home, she explodes at him, declaring that she can defend herself. Tom draws lines in the sand. He’s sick of her waffles. Will she end things? Make a guess.
When they break up, Summer sees Tom on the train and asks why he hasn’t replied to her emails (guess again). She then invites him to the wedding and before she can tie the knot (in a metaphor so old as to be able to marry a Civil War veteran) she hash out their failed relationship before meeting their ex. When he asks about the whole complex relationship, she only responds, “Because I liked it.”
The problem isn’t Summer itself (she’s a movie character, after all). The problem is the summer presentation of the film. Tom is admittedly naive (a fact that is dealt with under his nose in the ending), but Summer comes across as (or worse, manipulative). The only information we get as to why she leads Tom is Canard about her childhood, even after he presents her with the need to be exclusive (and out of her own mouth). Not even!). After their fling fails, we get a simplistic justification and the emotional equivalent of a grimace emoji that suggests it’s nothing more than an intuitive whim.
If the movie had less time to cut between the various moments of their lives and settled into a linear narrative, it would be time for Summer, who is that person, not Summer, who is not a fairy dream girl, not manic. there may have been We may have felt her grow from an emotionally closed child of divorce to a young woman open to love. writer-turned-architect Hardy’s “Hap” remains (kind of like if George Costanza actually became Art Vanderley). But even that doesn’t really make sense. 500 days of summer It offers something close to the medieval knight Yvan, who suffers from love sickness, driven to bestial madness by unfulfilled or unrequited desires. It doesn’t sound half bad when I put it that way (not that the movie is terrible, anyway). Maybe it’s just a psychoanalytic story (or, really, a medieval romance):
It is natural for us to hate, condemn, and despise ourselves, as we do. Anyone who loses bliss and contentment through his mistakes and errors should hate himself mortally. He should hate himself and commit suicide. And now, when no one is watching, why do I spare myself like this? Why don’t I take my own life? Have you not seen this lion, grieving for me, trying to thrust a sword into his chest, and should I fear death that has turned happiness into sorrow? Joy is a stranger to me now. joy? what kind of joy is that? No one could talk about such things, so I won’t say more about it. And I asked a silly question. It was the greatest joy of all that was guaranteed as my possession, but it lasted only a short time. plug (Lion Knight Ivan)
