(500) Days of Summer: The Anti-Romantic Comedy (Part Four)

In my last semester of college, I completed a writing portfolio entitled "Exploring Modern American Culture through Contemporary Cinema." It contained four essays dissecting four recent films. The second of those essays discussed Marc Webb's 2009 romantic comedy (500) Days of Summer. The fourth and final part of that essay is below. I will post a new portfolio excerpt every day. Next up: Steven Spielberg's presidential biopic Lincoln. Previous posts: The Dark Knight - Part One, Part Two, Part Three, Part Four; (500) Days of Summer - Part One, Part Two, Part Three. 

(500) Days of Summer: The Anti-Romantic Comedy

American Attitudes: Cynicism and Idealism

One of the most interesting things about (500) Days of Summer’s gender role reversal is how it puts a spotlight on the main characters’ conflicting outlooks. When it comes to romance, Tom is an idealist, while Summer is a cynic. He believes love is the key to happiness; she says relationships are not worth it because they are “messy and people’s feelings get hurt” (Webb). These viewpoints have been in movies before, but not often at the same time. Even rarer is a gender-reversed idealist-cynic couple in a romantic comedy. The abnormality of Tom and Summer’s relationship helps to draw attention to their views. In fact, there are points when the film clearly recognizes the peculiarity of its main characters. For example, in an early scene at a karaoke bar, Summer expresses her distaste for dating to Tom and his friend McKenzie (Geoffrey Arend), saying she does not want a boyfriend. McKenzie does not believe it and mockingly asks her if she is a lesbian. After she explains her views further – how she values independence and wants to avoid possible pain – McKenzie declares “You’re a dude!” (Webb) In this scene, McKenzie may be like audience members, surprised at the deviation from the gender norm and wanting an explanation.

(500) Days of Summer’s unusual characterizations serve two similar purposes: reflection of and commentary on widespread attitudes and shifting values in the United States. This was not unintentional. In a video interview, Joseph Gordon-Levitt called the movie “genuine,” and Zooey Deschanel said that with the movie, they were trying to make something that seemed real and relatable. In doing so, they disregarded old ideas about gender. As Deschanel says in the video, “with our generation… those gender roles aren’t something that really can apply anymore” because ideas about love and marriage have changed (Deschanel and Gordon-Levitt). According to the actress, there is no longer the notion in society that marriage must occur, that settling down is a necessary part of life. This leads to the question “What keeps people together?” (500) Days of Summer is an exploration of that question (Deschanel and Gordon-Levitt).

On one hand, there is Summer. To her, nothing can ensure a lasting relationship. Tom asks her for consistency, saying “I need to know that you’re not going to wake up in the morning and feel differently” (Webb). She tells him she cannot give him that and that “nobody can” (Webb). Summer is representative of a large part of the nation’s population that is pessimistic about love. As discussed before, the movie’s opening scenes tie her attitude to divorce. This has cultural resonance as 40 percent of Americans think marriage is obsolete, according a poll by the Pew Research Center (Luscombe). This is partially because of high divorce rates and partially because of changing ideas about family and marriage. While many still respect the institution, marriage is “just not as necessary as it used to be” (Luscombe). Things that were once taboo – like extramarital sex or having children out of wedlock – are more accepted now. Concerning gender expectations, women have gained the freedom to choose. Females do not have to depend on men financially, and they do not have a moral obligation to get married. They also do not have to stay married; it is estimated that two-thirds of all divorces are initiated by women (Luscombe). In (500) Days of Summer, the title character personifies this changed culture. Summer does not need or want romance, love, or marriage. She likes being on her own as a “free and independent” woman, a preference she shares with many real Americans (Webb).

On the other end of the spectrum is Tom, a firm believer in true love. His love-conquers-all ideas are much more traditional than Summer’s preference for flexibility. He is focused on labels, long-term commitment, and fate. He is not alone. Recent years have “seen the rise of the $40 billion-plus wedding industry” (Luscombe). Even with many people opting out of the institution of marriage, millions of Americans still want to make the trip down the aisle. Though he never actually talks of marrying Summer, Tom seems to be one of them. He is smitten with dreams of true love that lasts forever. His romantic ambitions are interestingly tied to media influence, and not just from The Graduate. As noted before, Tom and Summer have a mutual affinity for The Smiths, a band famous for its romanticized songs about longing, failed relationships, and love. Based on Tom’s previous impressionability, it is not unreasonable to think he is still susceptible to media influence. The film seems to support the notion that Tom’s ideals are tied to pop culture, as it is filled with references to a variety of movies, songs, and celebrities. Tom himself acknowledges this connection. Feeling pessimistic after Summer breaks up with him, he blames pop culture for giving people hope and quits his job at the greeting card company. Underneath his dramatic conclusion, there may be a grain of truth. In the real world, research has suggested that romantic media have the ability “to cultivate idealistic or even unrealistic beliefs” (Hefner and Wilson 151). In (500) Days of Summer, such media definitely have an ideological impact.

                                                                Conclusion

With all its subtle and overt messages about love in the 21st century, (500) Days of Summer is a valuable tool for examining current perceptions of romantic relationships. It deviates from Hollywood’s romantic comedy formula in favor of a more realistic storytelling approach. The film weighs romanticism, a prominent feature in American culture, against growing cynicism. As a result, it becomes a relatable piece of fiction that illustrates real-world concerns and beliefs. Audience members may see themselves in Tom, a heartsick romantic clinging to his idealized view of love. Or maybe they are more like Summer, avoiding relational commitment and trying to have fun while she is young. Whether viewers are Toms or Summers or someone in between, it is likely that their beliefs can be found in (500) Days of Summer.

Sources

Deschanel, Zooey, and Joseph Gordon-Levitt. “500 DAYS OF SUMMER ROUNDTABLE PT. 3” Youtube.  GeekTyrant, Jul 2009. Web. 28 Oct. 2009. <http://www.youtube.com/watch?v=0tkfUPKmpzY>

Hefner, Veronica, and Barbara J. Wilson. "From Love at First Sight to Soul Mate: The Influence of Romantic Ideals in Popular Films on Young People's Beliefs about Relationships." Communication Monographs. 80.2 (2013): 150-75. Print.

Luscombe, Belinda. "Who Needs Marriage? A Changing Institution." TIME Magazine. 18 Nov 2010: n. page. Web. 28 Oct. 2013.

Webb, Marc, dir. (500) Days of Summer. Perf. Joseph Gordon-Levitt and Zooey Deschanel. Wir. Scott Neustadter and Michael H. Weber. Fox Searchlight Pictures, 2009. Film. 20 Oct 2013.

(500) Days of Summer: The Anti-Romantic Comedy (Part Three)

In my last semester of college, I completed a writing portfolio entitled "Exploring Modern American Culture through Contemporary Cinema." It contained four essays dissecting four recent films. The second of those essays discussed Marc Webb's 2009 romantic comedy (500) Days of Summer. The third part of that essay is below. I will post a new portfolio excerpt every day.  Previous posts: The Dark Knight - Part One, Part Two, Part Three, Part Four; (500) Days of Summer - Part One, Part Two. 

(500) Days of Summer: The Anti-Romantic Comedy

Reversing Gender Roles

As previously discussed, (500) Days of Summer’s message about extreme attitudes toward love is underscored by its reversal of conventional gender roles. This reversal is noteworthy because it is an anomaly in the movie business. Though they may be growing more varied in their representations of the sexes, Hollywood films still tend to employ traditional ideas about gender. Female characters are often characterized as passive, dependent, and domestic, among other things. Such cinematic women do not take charge of the situations they are in. In contrast, males are usually active, adventurous, and independent. It should be noted, though, that when it comes to male characters there seems to be more diversity of personality. This may simply be because there are more male-led films being produced by major American studios (Smith and Cook 13). With more roles to write, there comes a greater assortment of types. Even so, stereotypical gender roles for both females and males prevail in U.S. filmmaking and marketing. The romantic comedy genre is no exception. Films with plots as different as Runaway Bride (1999), My Big Fat Greek Wedding (2002), and He’s Just Not That Into You (2009) all feature a number of men and women that have at least some – if not all – of the traits outlined above. (500) Days of Summer does not rely on such categorization. Presenting many characters – male and female – with differing interests, views, and backgrounds, the movie avoids depending on narrow ideas about gender.

It has actually been suggested that (500) Days of Summer is a feminist work because the interactions between Tom and Summer defy gender norms, as well as expectations about male-female relationships. The pair displays a refreshing romantic dynamic where “the female love interest… can not only be equal, but can also hold more power than her male counterpart” (Williams 43). From start to finish, Summer is the dominant one in the relationship. As such, she takes on a more traditionally masculine role than Tom, who is passive, insecure, and commitment-focused. Conversely, Summer is forward, assertive, and independent. Though Tom’s attraction to her is revealed to viewers before she ever shows interest in him, it is Summer who makes the first move. She asks Tom directly if he likes her, a question he is hesitant to answer, presumably due to bashfulness. Later, Summer initiates their romantic relationship by kissing him in the copy room at their workplace. She also chooses whether the relationship will have a label (i.e. dating), and she is the one who ends it. Through these acts, Summer establishes herself as a driving, deciding, autonomous force; she remains this way for the entirety of the film.

Tom is in many ways Summer’s opposite; as already noted, he comes across as more conventionally feminine. Where Summer is decisive and bold, Tom is submissive and reactive. The film openly acknowledges this. Take the breakup scene, for instance. The couple meets at a diner where Summer expresses frustration with their relationship, complaining “We’ve been like Sid and Nancy for months now” (Webb). The reference is to ‘70s punk rocker Sid Vicious and his girlfriend, Nancy Spungen; their volatile relationship ended when Vicious stabbed Spungen to death in a hotel room. Tom finds the comparison harsh, responding “we have some disagreements, but I hardly think I’m Sid Vicious” (Webb). Much to his surprise, Summer informs him that she is Sid, making him Nancy. Here, Tom is clearly portrayed as a passive presence, a softer counterpart to Summer’s sometimes aggressive personality. This idea is reinforced throughout the movie. Tom is a reserved and romantic person who waits for things to happen to him rather than makes them happen himself. Overall, he fits stereotypical ideas about feminine behavior, making him an atypical leading man.

Sources

Smith, Dr. Stacy L., and Crystal Allene Cook. "Gender Stereotypes: An Analysis of Popular Films and TV."Geena Davis Institute on Gender in Media, 2008. 12-23. Print. .

Webb, Marc, dir. (500) Days of Summer. Perf. Joseph Gordon-Levitt, Dir. Zooey Deschanel, Scott Neustadter, and Michael H. Weber. Fox Searchlight Pictures, 2009. Film. 20 Oct 2013.

Williams, Brenna Claire. "Mainstream Mulvey: Eternal Sunshine of the Spotless Mind and (500) Days of Summer as Alternatives to the Feminist Avant-Garde." Film Matters. (2013): 43-49. Print.

(500) Days of Summer: The Anti-Romantic Comedy (Part Two)

In my last semester of college, I completed a writing portfolio entitled "Exploring Modern American Culture through Contemporary Cinema." It contained four essays dissecting four recent films. The second of those essays discussed Marc Webb's 2009 romantic comedy (500) Days of Summer. The second part of that essay is below. I will post a new portfolio excerpt every day.  Previous posts: The Dark Knight - Part One, Part Two, Part Three, Part Four; (500) Days of Summer - Part One. 

(500) Days of Summer: The Anti-Romantic Comedy

Going Against the Cinematic Grain

The film’s very premise is subversive because it is told from a male’s perspective. This is part of a modern trend in Hollywood of making male-led rom-coms. It joins a moderately-sized group of films that includes such hits as Knocked Up (2007), The 40-Year-Old Virgin (2005), and Hitch (2005). But even within this group, (500) Days of Summer stands out due to its treatment of its protagonist and his views. Tom Hansen is undeniably the film’s chief romantic idealist. He believes in falling in love fast and hard. In many films, this view is championed, but here Tom is not rewarded for his beliefs. On the contrary, Tom comes across as likeable but foolish. This can be seen in an early scene where he and Summer stand next to each other in an elevator at work. Tom is wearing headphones, listening to the ‘80s song “There Is a Light That Never Goes Out” by The Smiths. His music is faintly audible; Summer hears it and leans over to say “I love The Smiths.” And just like that, Tom is smitten. He loves how much he and Summer have in common, but it is like his younger sister tells him: “Just because some cute girl likes the same bizarro crap you do, doesn't make her your soul mate” (Webb). Despite the many superficial similarities Tom and Summer share, they have significant differences, particularly when it comes to their views of love.

The elevator scene is one of many that demonstrates Tom’s shallow and romanticized outlook on love. He is optimistic to a fault, which the film credits to a misinterpretation of The Graduate at a young age. He interprets the melancholic ending of that movie as a happy one promoting true love. Consequently, he believes his life will not be complete until he meets “the one” (Webb). When he meets Summer, he thinks he has found that one. Summer, on the other hand, tries to be realistic, though her views often seem extreme. She does not believe love exists, thinking it as imaginary as Santa Claus. This is attributed to her parents getting divorced during her adolescence. In real life, it would be expected that such a couple would be destined for difficult times, and perhaps even an unhappy ending. In the movies, that resolution would never be anticipated. Romantic comedy couples end up together. Period. That is what audiences expect and want, apparently: on the list of the highest-grossing romantic comedies in the U.S., only two of the top twenty-five – 2006’s The Breakup and 1997’s My Best Friend’s Wedding – end with the core couple’s separation (Romantic Comedy Movies at the Box Office). Following these film’s examples, (500) Days of Summer’s Tom and Summer never reconcile. The fact that their differing ideas about love kept them from having a successful relationship indicates not only a lack of compatibility, but also the significance of these ideals. The filmmakers seem to be saying overt idealism and cynicism can interfere with one’s happiness. In this way, (500) Days of Summer is less about being an escapist piece of entertainment focused on the fictional attainment of true love and more about critiquing certain detrimental viewpoints in the context of a romantic relationship.

Sources 

"Romantic Comedy Movies at the Box Office." Box Office Mojo. IMDb, n.d. Web. 17 Oct 2013. .

Webb, Marc, dir. (500) Days of Summer. Perf. Joseph Gordon-Levitt, Zooey Deschanel. Wir. Scott Neustadter, and Michael H. Weber. Fox Searchlight Pictures, 2009. Film. 20 Oct 2013.