You will fall in love with this (non) love story

A left-field gem, 2009's (500) Days of Summer is a romantic comedy designed for viewers who do not typically like romantic comedies. Or, to rephrase, it's a picture for film-goers who might appreciate the emotional resonance of a romantic comedy but are unenthusiastic about the genre's hackneyed clichés and formulas. (500) Days of Summer sets itself apart from its cookie-cutter brethren through its subtle mocking of convention and its defiance against delivering a more traditional, crowd-pleasing love story - the narrator even warns us upfront that this is not a love story. Much like Woody Allen's Annie Hall accomplished for a previous generation, (500) Days of Summer accurately captures and portrays the nature of dating and relationships in the early 21st Century.

The protagonist of this story is hopeless romantic Tom Hansen (Joseph Gordon-Levitt), a trained architect who works as a lowly, unambitious greeting card writer. The moment that Tom spots Summer Finn (Zooey Deschanel) in his workplace, he's instantly smitten and believes that he has found "the one." After a few encounters both in and out of work, the two become intimately involved. But there is one crucial obstacle in their relationship: they hold radically opposing views on love. Whereas Tom firmly believes in true love and "the one," Summer is convinced that love is a fantasy. Despite Summer's firm stance that she's not looking for anything serious, Tom harbours delusions that she is falling head-over-heels for him.

The story of Tom and Summer's relationship is not conveyed in a simple linear progression; instead, it unfolds out of order, with an on-screen counter revealing the day number. As the narrative whips back and forth, we get to see moments of happiness and sadness, tenderness and anger, togetherness and separation...all right next to each other. Though this might seem insignificant, the technique emphasises how a person's memories of the good and the bad intertwine and obscure each other, depending on the moment. Screenwriters Scott Neustadter and Michael H. Weber (who are both first-timers) astutely recognise that, even in the pain of a breakup, all the happy, earlier memories of a person will forever exist. It is difficult to get over someone when you can still vividly recall how they used to look at you. Likewise, as the movie progresses, it reveals further context to dramatic scenes, and posits that even though Tom was perpetually under the impression that everything between himself and Summer was perfect, he was blissfully blind to all the warning signs. Even when Tom's little sister (Chloë Grace Moretz) encourages him to ask Summer directly about the nature of their relationship, he is too scared to press the topic when questioning Summer for fear of not receiving the answer he wants.

In a sense, (500) Days of Summer amounts to an anthology of bits and pieces that don't often feature in romantic comedies. Adamantly eschewing convention (there are no cute meetings or last-minute dashes to the airport), this is a movie concerned with the thrill of realising a girl you desire has similar taste in music, and the hollowness of going on dates when you're still pining for your ex-girlfriend. According to the screenwriters, most of the events in the movie are based on the real experiences of Neustadter, which is why it feels so real and relatable. The film incorporates little moments that Hollywood often ignores, from trying to attract your crush's attention by playing their favourite band, to trying to convince yourself that your crush is not interested based on trivial observations. The complexity of modern dating, with people avoiding labels, also receives acknowledgement. The screenplay is intelligent, witty, frequently hilarious, and rooted in recognisable truths that give weight to what would otherwise be merely amusing. Also, the humour does not rely on gross-out gags or unfunny pratfalls, because the comedy is character-based and evolves organically. The script is not profanity-ridden, either, though the sole use of the f-word perhaps provides the movie's biggest laugh.

Making his film debut here is music video director Marc Webb, whose cinematic voice feels fresh, unique and relevant. Webb and cinematographer Eric Steelberg (Juno) bring the script to life with utmost pizzazz, indulging in an armada of visual techniques. There are faux old movie recreations that place Gordon-Levitt and Deschanel in the action, and there's a mini-documentary about love that incorporates several members of the supporting cast speaking about the topic in character. One of the key highlights is a delightful song-and-dance number to convey the joyfulness of Tom's first night with Summer, set to "You Make My Dreams Come True" by Hall & Oates. This breezy musical sequence is especially critical in establishing the story's perspective - viewers are gazing through Tom's eyes. Further demonstrating this is a clever split-screen sequence that balances Tom's hopeful fantasy with the less optimistic reality during a critical moment; the resulting scene is honest, heartbreaking and relatable. On that note, the drama hits extremely hard on Webb's watch, with arguments and fights that are borderline uncomfortable to watch. Luckily, Webb's visual techniques enhance the drama rather than detract from it, and the soundtrack adds another layer. Indeed, the songs and the whimsical original score are both thoroughly perfect, impeccably complimenting the gorgeous visuals.

The number of movie-goers who develop crushes on Zooey Deschanel is borderline embarrassing, and this reviewer is as guilty as anyone else. But you can't help it: she's enchanting in everything. (500) Days of Summer cleverly plays on that - an early sequence (with wry narration) outlines "The Summer Effect" with data revealing, for example, that she substantially increased profits at an ice cream parlour during her employment there, she averages 18.4 double takes during her daily work commute, and apartments are normally offered to her for below market value. Summer is always in danger of becoming a romanticised abstraction, but Zooey's remarkable performance and inherent beauty keep the character profoundly human. Her allure is pervasive, and a viewer can easily understand why Tom is so enamoured with her and wants to hold onto her, even when she is clearly and defiantly pulling away from him. Alongside her, Gordon-Levitt is note-perfect; he's so effortlessly charismatic that it's hard not to like him. Thanks to the flights of fancy taken by the script, Gordon-Levitt must speak French, sing awful karaoke, and lead a song-and-dance number in the streets (among other things), all of which he accomplishes with marvellous confidence. Gordon-Levitt and Deschanel, who remain best friends in real-life, are an outstanding screen couple with unusually brilliant chemistry. The entire cast is simply perfect from top to bottom.

With its neo-Woody Allen vibe, (500) Days of Summer evokes two of the writer-director's iconic movies: Annie Hall and Manhattan (though Gordon-Levitt is better-looking than Allen and infinitely less neurotic). Those films recognise a simple fact that few rom-coms acknowledge: not all romances, no matter how promising, will end happily. (500) Days of Summer also acknowledges this, and shows that every high of a relationship has a matching low. The constraints and requirements of the mainstream rom-com formula frequently prevent such films from reaching their full potential, which makes movies like (500) Days of Summer feel more honest and unique. Aside from the sheer honesty and emotion of the story, the film is also a thorough delight with big laughs that is infinitely rewatchable. With its boundless charm and witty screenplay, it is easy to fall in love with this (non) love story.

10/10