With Sundance closing its curtains, the crowd-pleasing premiere of Marc Webb’s 500 Days of Summer, starring indie darlings, Joseph Gordon-Levitt and Zooey Deschanel (a festival regular and go-to-muse) marked the first stop on our 162 days to the film’s release on July 24. Ironically publicized as “not a love story,” and decked with linguistic magnets like “postmodern” and “indie,” this Fox Searchlight soon-to-be hit solidly caters to the lofty expectations of its vintage-groomed fans. Teaser already displays all the self-incriminating evidence:
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While most reviewers have found the Morgan Freemanish narration to be irritating, mechanically heralding “500 Days of Summer” at least 4 times (discounting subliminal echoes), I view this gesture by whoever made this trailer to be a giddy, uproarious send-up to the frothy romantic inquiries of Jean-Luc Godard, whose political ambitions were better explored in his earlier studies of male-female relationships as doomed transactions between need and desire, tedium and escape, Marx and Coca-Cola. Before embarking on his iconic Breathless, Godard was head of PR at Twentieth Century Fox’s Paris office for two years. No wonder he was so meticulous when it came to his future ad campaigns: leaving behind a unmistakable fingerprint on every poster printed and every teaser shown. Witness the assault of primary colors dropped on the viewer in the much iconic preview to Contempt, lead by an equally bold duet of voices listing all those moments one demands from art cinema: an unfulfilled caress, a forlorn glance, a cameo by Fritz Lang, and by default, those same qualities found in the budding business of trailers-as-art: black intertitles w/flashing words, and random clips from the feature film. Spot something similar?
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Much credit must be given to the lost heritage of 60s and 70s advertisements produced in the post-studio-system Hollywood, characterized by a stoic, fatherly voice-of-God inviting us to view the latest gritty entry of urban corruption and social unrest. Repeating the title of the film excessively with in-between montages consisting of purely outrageous scenes, pins the perfect mental memo for any moviegoer who wants to have his camp and eat it too. With the corninest of strategy and the best of focus-group psychology, how could anyone fall into the cracks of amnesia? Most of these enduring titles also happen to be in the new classics canon including West Side Story, Don’t Look Now, Strawdogs, and Klute.
Circling back to 300 Days, why the anachronistic homage to a forgotten practice, distancing your core audience with the most “annoying” of marketing weaponry, when kids these days are more prone to easy breezy wit over heavy meta in-joke? Given the sums of money Fox Searchlight poured into their yearly investments, it’s almost granted that the trailer acts as an invitation to the film’s reportedly unconventional time-skipping structure, a disciplinary device to assuage familiarity through readymade musical popcoctions, and what a hypnotic song–-Sweet Disposition by Australian band Temper Trap—is, washing away the initial discomfort with a Greatest-Hits reel of contemporary rom-com’s triad of affections and affectations: boy, girl, photogenic city. Last year: Nick and Norah’s NYC, Micah and Jo’s San Francisco. This year’s crime-free lovers’ spot: Tom and Summer’s Los Angeles.
As a sidenote, we will be returning to the indefinable figure of the Indie Darling, a kept creature of her times, from Anna Karina to Zooey Deschanel. In a future post, spurred by an unsatisfactory aftertaste of Andzrej Wajda’s New Wave feature, Innocent Sorcerers, we hope to dig not deeper behind the surface, but let that surface says something about our investigation. For those of you who have seen this film, keep those thoughts in mind.