500 Days of Summer (2009) - Film Review: Nonlinear Narrative Structure

Figure 1: 500 Days of Summer (2009) [Poster]

This film review aims to analyse Marc Webb’s romantic comedy 500 Days of Summer (2009), and how it fits into the nonlinear narrative. This film review will investigate the definition of nonlinear and how this can be found within films, as well as looking at how famous practitioner, Bertolt Brecht uses this nonlinear narrative within his plays to create Epic theatre.

In terms of film, nonlinear is used to describe a narrative that goes against a chronological order and displays scenes in a way in which could either enhance the film, or demonstrate a new perspective on the narrative, to give audiences a new insight. There are different types of methods used by directors to help illustrate the concept of nonlinear storytelling such as retrograde. Retrograde becomes the opposite of chronological as the audiences watches the scenes in reverse order, meaning the story starts from the end and then ends at the start. However, directors can also use the zigzag method, which jumps between events in each scene.

Although often used within film, this notion of nonlinear storytelling was also used by German practitioner Brecht within his Epic theatre. Epic theatre is displayed often through a fractured narrative that is nonlinear and zigzags about in time. Brecht used Epic theatre to send a message to his audience, his plays were written in a way in which audiences would emotionally distance themselves from the story in order to view it objectively. This was often completed by constantly reminding that they were watching a play, by using very basic set design, and often little to no costumes.

By making the audience view the story objectively, they are asked to interoperate the facts given to them, to discover the message Brecht was trying to emulate. This is a goal often set by film makers who use nonlinear storytelling, aiming to also deliver an overarching message to the audience, only obtained by using a nonlinear narrative that allows them to separate the story to obtain more of an objective overview. (BBC. N/A)

500 Days of Summer tells the story of Tom, an aspiring architect currently earns his living as a greeting card writer. Upon encountering his boss' new secretary, Summer, Tom discovers that the pair have plenty in common even though she's out of his league. Before long Tom is smitten. All he can think about is Summer. Tom believes deeply in the concept of soul mates, and he's finally found his. Unfortunately for Tom, Summer sees true love as the stuff of fairy tales and isn't looking for romance. Undaunted and undeterred by his breezy lover's casual stance on relationships, Tom summons all his might and courage to pursue Summer and convince her that their love is real. (IMDb. 2009)

Figure 2:  The opening title sequence, setting the time frame [Film still]

From the very beginning of the film, Webb uses a title screen to set the day for each time. Doing this at the start of the film, allows the audience to understand the time frame of the first scene. This technique is then used throughout the entirety of the film, constantly reminding audiences of the time jumps, making them aware of the nonlinear narrative structure.

Figure 3: Tom and Summer (appear to be married) [Film still]

The film sets itself on the very last day of Summer and Tom time together, day five hundred. It is here audiences shown Tom and Summer sitting on a bench, with Summer on a ring on her hand. This gives the impression that the two are happily married, this is also supported through the use of narration. In using narration, Webb is audibly enhancing the idea of sending a message to his audience, as hearing the narration reminds the audience of the storytelling nature of the film.

Figure 4: Go back to day one, the day Tom meets Summer [Film still]

After seeing this short scene, the title card then flips back through the numbers to day one. This acts a visual cue, making viewers to the change of time period, beginning the zigzag method within the film.

Figure 5: Audience meets day one Tom [Film still]

When going back to day one within the film, the character of Tom is fully introduced. The scene starts with the Narrator talking about Tom, however then goes on to tell audiences the facts about Tom and his outlook on life, and in this case love.

Figure 6: Flash back to Tom as a child [Film still]

This is shown through a flashback, a technique quite often used for the storytelling aspect of a nonlinear narrative. The flashback depicts younger Tom, who believes in soulmates and finding ‘the one’ in life. This is then later contrasted by Summer, who is introduced a similar way, however, is revealed within her flashback to have the opposite view on love, seeing it as more of a casual affair within life. Similar to Brecht, Webb is setting the stage showing audiences the facts of the characters, and what drives them. This also foreshadows the conflict later within the film, that will later offer a message to the audience.

Figure 7: Progress to day 191 [Film still]

The zigzag method becomes more and more evident within the film, as it is repeated throughout the film, going back and forth within the span of the five hundred days Summer and Tom spend together. This is mainly used to highlight the contrasts between Tom and Summer, really showcasing the highs and lows of their relationship.

Figure 8: Tom and Summer enjoying the cinema [Film still]

For example, on day one hundred ninety-one, Tom and Summer are seen in the cinema during a high point within their relationship. This day is also edited as a montage to show the passing of time, which could be said to be used as a way to represent how the good moment he spends with Summer becomes one big moment, colliding together.

Figure 9: Skip time frame to day 314 [Film still]

Yet this scene is later contrasted after going forward in time, repeating the use of title card once again to show time passing to day three hundred fourteen. The concept of time passing is likewise within the design of the title cards, as the darker patches within their relationship is depicted by darker grey tones on the cards, while happier moments portray brighter vivid colours.

Figure 10: Tom feeling sad by himself in the cinema [Film still]

In the darker time of their relationship, the cinema is then mirrored, this time with just Tom by himself. As a narrative this would maybe be shown later within the film after the nice moment at the cinema near the beginning. However, this comes straight after day one hundred and ninety-one, indicating the importance of this contrast of the situation over the time frame shift.

Figure 11:  Go to day 488 [Film still]

This idea of comparing two scenes within the film in a way that pushes the message to the audience of Tom’s conflict to Summer perception of love, is once again addressed on day four hundred eighty-eight, which happens during a break within their relationship.

Figure 12: Tom’s expectations vs reality, in split screen [Film still]

For day four hundred and eighty-eight, the audience introduced to a split screen view of the scene. Although previously used within the film, to include scenes of Tom on the phone to Summer, this shot instead includes Tom’s expectations vs reality. For the scene, Tom has been invited to a gathering at Summers house. In the shot we see two similar recordings of Tom experience of the event, however in the expectations Summer is seen to be with Tom throughout the duration of the evening. Contrasting heavily to the other side of the split screen, depicting Tom being alone during the party and finding out that Summer is engaged.

This scene aims to demonstrate the reality of romantic comedies, often showing the hero ending up with the love interest. Although this doesn’t always necessarily need to be true. Webb sends the message that although Tom feels that Summer is the one, this concept of love doesn’t account for what happens if ‘the one’ does not feel the same way, and the struggle that comes along with letting go. In a way, the audience is learning through Tom mistakes and experiences. 

Figure 13: Breaking the fourth wall during dance sequence [Film still]

This connection between Tom and the audience is materialised by breaking the fourth wall. During the dance sequence within the film, after Tom feels that he has truly won over Summer’s affections, Tom looks directly into the camera, to show his reaction to the situation. Although this allows the audience to connect with Tom, it also reminds us that he is fully aware of what has just happened (in this case the musical dance number) and what is going to happen.

Figure 14: Before the film ends Tom looks directly into the camera [Film still]

This is later used in the very last scene of the film, when returning to day five-hundred in which he meets a woman by the name of Autumn. Once she introduces herself, Tom once again looks straight into the camera lens, and smirks. This brings the Summer ‘chapter ‘to an end, as a new title card is shown.

Figure 15: Day 1 of Autumn begins [Film still]

In conclusion, 500 Days of Summer follows a nonlinear narrative, highly supported by the way in which the film has been edited together. Webb used techniques such as zigzag, in which he jumps in between different events in order to highlight the contrast between Tom and Summer’s relationship over the span of 500 days. Along with this Webb also includes techniques within through storytelling devices such as Framing and fourth wall breaking, by having Tom look directly at the camera to end the film, and also having a split screen to show the audiences Tom’s expectation vs his reality. In using these techniques, Webb allows the audience to follow the journey with Tom, however viewing it through a distorted lens in which leads them to look at it as more of an experience, and what lessons they can take away from this.

Bibliography

BBC. (N/A). Epic theatre and Brecht. Available: https://www.bbc.co.uk/bitesize/guides/zwmvd2p/revision/8  Last accessed 05/11/2019.

IMDb. (2009). 500 Days of Summer Plot. Available: https://www.imdb.com/title/tt1022603/plotsummary  Last accessed 06/11/2019.

MotionElements. (2013). Understanding Linear vs Non-linear Editing. Available: https://www.motionelements.com/blog/articles/understanding-linear-vs-non-linear-editing  Last accessed 05/11/2019

Illustration List

Figure 1: 500 Days of Summer (2009) [Poster] - Marc Webb. (2009). 500 Days of Summer (2009). Available: https://www.imdb.com/title/tt1022603/  Last accessed 05/11/2019

Figure 2:  The opening title sequence, setting the time frame [Film still]

Figure 3: Tom and Summer (appear to be married) [Film still]

Figure 4: Go back to day one, the day Tom meets Summer [Film still]

Figure 5: Audience meets Tom [Film still]

Figure 6: Flash back to Tom as a child [Film still]

Figure 7: Progress to day 191 [Film still]

Figure 8: Tom and Summer enjoying the cinema [Film still]

Figure 9: Skip time frame to day 314 [Film still]

Figure 10: Tom feeling sad by himself in the cinema [Film still]

Figure 11:  Go to day 488 [Film still]

Figure 12: Tom’s expectations vs reality, in split screen [Film still]

Figure 13: Breaking the fourth wall during dance sequence [Film still]

Figure 14: Before the film ends Tom looks directly into the camera [Film still]

Figure 15: Day 1 of Autumn begins [Film still]