SPOILER WARNING: In this post, I’m going to reveal plot details of two romantic comedies, (500) Days of Summer and Adam.
Romantic comedies are expected to be upbeat. They center on the courtship, relationship, and love that emerges between two people. The source of conflict is a person’s natural resistance against love– a confusing, hard-to-find, and exhaustingly powerful emotion– and the formation of relationships. There’s usually external resistance as well; the man and woman might be of different social classes or races, one or both might be involved with the wrong person at the time, or the parents may disapprove of the relationship. These obstacles threaten to derail the relationship but, in the end, “love conquers all”, and there’s a happy ending. That’s what makes this genre romantic comedy, not romantic drama or tragedy.
Two of 2009’s more inventive and interesting romantic comedies have been Adam and (500) Days of Summer, and neither had a happy ending. The first of these, Adam, is about a man with Asperger’s syndrome, who is (as we’d expect) a bit socially awkward. Actually, he’s good-looking and his social ineptitude is mild-to-moderate as far as Aspies go, but never mind that. The conflict is obvious: Adam says the wrong thing sometimes, Beth is faced with the task of training him, and her father– a stereotypical sleazebag alpha-male– disapproves of the relationship. They fall in love anyway. Adam, laid off at the start off the movie, finds a job in California due to Beth’s social training. He’s proven himself remediable and able to learn basic social skills. Beth plans to come along with him to California, but she wants to know why he wants her to be with him, so she asks him, point-blank. He obviously loves her, but he says the wrong thing, which is that he’s nervous about moving alone. She pulls the stereotypical female “I can’t do this” and dumps him, and he goes to the west coast alone. Some men, apparently, are just too awkward– too broken– to deserve happy endings.
(500) Days is set in Los Angeles, an unusual choice for a romantic comedy, because rom-coms need visible seasons to hint at the passing of time. When the characters meet in a model romantic comedy, the trees are green and it’s warm enough to see the female lead’s shoulders. They’re wearing light jackets when they start formally dating. The leaves turn red, suggestive of fiery passion, around the first time they have sleep together. Snow is falling and people are shivering when the conflict reaches its climax. (The wintry setting is conducive to, say, the male lead’s 10-mile trek through a blizzard to prove his devotion.) Spring begins shortly after the conflict’s resolved, and mention of a September wedding date rounds the story out to a 15-month courtship. Visible seasonal cues allow this to happen in the space of 90 minutes.
(500) Days takes a different approach, being set in a city without visible seasons. It tells you what time it is, with a counter informing the viewer where in the film’s 500-day plot each scene fits, and taking liberties with non-linear time. Very early, we learn that Summer is not a very nice person. On day 290, she breaks up with the male lead, Tom Hansen, for a vague and unclear reason. “Stupid female reasons” is how most men describe this style of breakup. As the film back-fills days 1 to 289, we learn why: Summer’s a capricious girl, her fancy as ephemeral as the season she’s named for, and she never was that much into Tom. Being a complete beta, he is, on the other hand, obsessed with her.
He collapses utterly after she dumps him, although it’s not clear what there was to Summer other than a pretty face, and his work and social life fall to pieces. He encounters Summer a few months later and she invites him to a party. Showing a typical level of class for an American woman, it’s her engagement party, held only three months after she trashed him. The woman who claimed love was fleeting– never permanent or “true”– has a ring on her finger after her first helping of alpha-cock. Well done. Summer gets the traditional Hollywood happy ending, while Tom loses his job and requires several grueling months to rebuild himself.
Tom’s 500 days end on an ambiguous note. He’s rebuilt himself into a confident man, now applying for positions in architecture, his dream career. At his first interview, he meets an attractive woman named Autumn. The film’s odometer resets to Day 1, and although this is supposed to be a “happy”– or at least acceptable– ending, it seems evident that he’s in for the same ride again.
In both films, we see a caring, kind man fall in love with an attractive and charming but ultimately selfish woman, and she fails him miserably out of weakness and caprice. This is what a 2009-era romantic comedy must have in order to be believable. Why? Because the vast majority of American women, at this point, are so morally bankrupt that most people in their 20s can’t imagine things being any different. It would be impossible for young people to suspend disbelief when watching a rom-com where the female lead knew what behaviors and choices are acceptable, and avoided those that are not. It would be “sappy” and unrealistic, because it’s so far removed from actual experience– at least, as life is lived now.
The glowing counter-truth is that “happily ever after” actually exists in the real world. It’s not a fantasy. A relationship without any problems and arguments is obviously unrealistic, but people fall in love every day. Some of them stay in love for 10, 20, or even 50 years. This is why rom-coms are romantic comedies and not fantasies; they’re plausible (if sanitized and contrived) depictions of a real-life courtship and marriage. In love, the happy ending can be realistic, because it actually happens to more than a few people. The problem: most American women aren’t up to the task, and everyone knows it. Summer, dumping her beta lover and shortly afterward getting hitched to an alpha, with no apology, proved herself to be a typical American woman. The same holds for Beth in Adam, unceremoniously leaving her boyfriend after he said the wrong thing.
There’s “happily ever after”, but there’s never been an “easily ever after”, and there never will be. Life, love, and relationships take a lot of work. “The spark” isn’t going to be there in the first 45 seconds, and every relationship is going to require work, but there are good reasons not to abandon the relationship at the first sign of difficulty. These truths, unfortunately, are lost on most under-40 American women, due to their obsessive and selfish need for instant gratification. Even Hollywood can’t believe otherwise anymore.