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Cocoa production in Ghana
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Harvest processing of cocoa beans in Ghana in the 20th century
Cocoa is the chief agricultural export of Ghana and the country's main cash crop.[1] Behind Ivory Coast, Ghana is the second largest cocoa exporter in the world.[2] Cocoa cultivation is not native to the country;[3] Ghana's cocoa cultivation, however, is noted within the developing world to be one of the most modeled commodities.[4]
Cocoa production occurs in the country's forested areas: Ashanti Region, Brong-Ahafo Region, Central Region, Eastern Region, Western Region, and Volta Region, where rainfall is 1,000-1,500 millimeters per year. The crop year begins in October, when purchases of the main crop begin, with a smaller mid-crop cycle beginning in July. All cocoa, except that which is smuggled out of the country, is sold at fixed prices to the Cocoa Marketing Board. Although most cocoa production is carried out by peasant farmers on plots of less than three hectares, a small number of farmers appear to dominate the trade. Indeed, some studies show that about one-fourth of all cocoa farmers receive just over half of total cocoa income.[5]
In 1979, the government initiated reform of the cocoa sector, focusing on the government's role in controlling the industry through the Cocoa Marketing Board. The board was dissolved and reconstituted as the Ghana Cocoa Board (Cocobod). In 1984 it underwent further institutional reform aimed at subjecting the cocoa sector to market forces. Cocobod's role was reduced, and 40 percent of its staff, or at least 35,000 employees, were dismissed. Furthermore, the government shifted responsibility for crop transport to the private sector. Subsidies for production inputs (fertilizers, insecticides, fungicides, and equipment) were removed, and there was a measure of privatization of the processing sector through at least one joint venture. In addition, a new payment system known as the Akuafo Check System was introduced in 1982 at the point of purchase of dried beans. Formerly, produce buying clerks had often held back cash payments, abused funds, and paid farmers with false checks. Under the Akuafo system, a farmer was given a check signed by the produce clerk and the treasurer that he could cash at a bank of his choice.
Plantation divestiture proceeded slowly, however, with only seven of fifty-two plantations sold by the end of 1990. Although Ghana was the world's largest cocoa producer in the early 1960s, by the early 1980s production had dwindled almost to the point of insignificance. The drop from an average of more than 450,000 tons per year to a low of 159,000 tons in 1983-84 has been attributed to aging trees, widespread disease, bad weather, and low producer prices. In addition, bush fires in 1983 destroyed some 60,000 hectares of cocoa farms, so that the 1983-84 crop was barely 28 percent of the 557,000 tons recorded in 1964-65. Output then recovered to 228,000 tons in 1986-87. Revised figures show that production amounted to 301,000 tons in 1988-89, 293,000 tons in 1990-91, and 305,000 tons in 1992-93. After declining to 255,000 tons in 1993-94, the crop was projected to return to the 300,000 ton range in 1994-95.[5]
In the early 1990s, Cocobod continued to liberalize and to privatize cocoa marketing. The board raised prices to producers and introduced a new system providing greater incentives for private traders. In particular, Cocobod agreed to pay traders a minimum producer price as well as an additional fee to cover the buyers' operating and transportation costs and to provide some profit. Cocobod still handled overseas shipment and export of cocoa to ensure quality control.[5]
In addition to instituting marketing reforms, the government also attempted to restructure cocoa production. In 1983 farmers were provided with seedlings to replace trees lost in the drought and trees more than thirty years old (about one-fourth of the total number of trees in 1984). Until the early 1990s, an estimated 40 hectares continued to be added to the total area of 800,000 hectares under cocoa production each year. In addition, a major program to upgrade existing roads and to construct 3,000 kilometers of new feeder roads was launched to ease the transportation and sale of cocoa from some of the more neglected but very fertile growing areas on the border with Ivory Coast. Furthermore, the government tried to increase Ghana's productivity from 300 kilograms per hectare to compete with Southeast Asian productivity of almost 1,000 kilograms per hectare. New emphasis was placed on extension services, drought and disease research, and the use of fertilizers and insecticides. The results of these measures were to be seen in rising cocoa production from the 1990s to the present.[5]
Recent growth[edit]
Cocoa beans and cocoa harvest processing
Ghana's cocoa production grew an average of 16% between 2000–03.[6] Cocoa has a long production cycle, far longer than many other tropical crops, and new hybrid varieties need over five years to come into production, and a further 10 to 15 years for the tree to reach its full bearing potential. The reasons for this huge production increase are varied and in fact Ghana's cocoa yields per hectare are still low by international standards.[6] Researchers at the Overseas Development Institute identify the following as particularly important:[6]
Land
Labour
Fertiliser
Insecticide
Agricultural equipment
Western Sefwi (suggesting smuggling from Ivory Coast)
Rainfall
Cocoa farmer
Use of spraying machine
This study also suggests that the most important factors in the increased proan are:[6]
New land brought under cultivation
More intensive use of household labour
A good rainfall pattern
Effectiveness of farm spraying and increased fertiliser use
This study suggests that Ghana's cocoa farmers are not making the best use of technological innovations in their production and instead their increased production is not sustainable.[6] Bringing new land under cultivation is risky, as much of the land was previously forest and after a short period and without adequate attention this land may be exhausted. Intensive use of labour has led to high increases in the cost of labour and may impact profitability, and high rainfall is only periodic.[6]
Hybrid system of liberalisation[edit]
Sunyani Cocoa House in Sunyani, Brong-Ahafo Region, Ghana
Ghana Cocoa Board's experimentation with privatisation has created a hybrid system whereby despite all exports being controlled by the state, there are now around 25 private companies buying the crop in all areas of the country where it is grown.[7] After 14 years, the successes and failures of this hybrid system have been the subject of a study by researchers at the Overseas Development Institute. Competition was clearly found to have increased production levels throughout the country, yet access to credit remained one of the most important factors determining the level of competition. Farmers rarely made the most of all the available options to sell their crop (often they only made use of one).[7] Their choice was based on the ability of a company to pay promptly in cash and thus there were only five major players on the market: PBC (formerly state-owned), Kuapa Kokoo (a hugely successful farmers-based cooperative working on fair trade principle), Adwumapa (a Ghanaian buying company), Olam and Armajaro (both foreign-owned companies, from Singapore and the UK respectively).[7] Another key determining factor is the distance of the plantation from the main market, as more remote farms more often found it easier to sell to the formerly state-owned PBC.[7]
This hybrid scheme benefits a variety of players:[7]
The state, which maintains a monopoly on all exports and makes a substantially higher return from taxation than other cocoa regions;
The traders, who compete for the purchase of higher volumes of the export crop on non-price terms throughout the cocoa belt areas; and
The farmers, who are guaranteed a minimum floor price regardless of their geographical location.
Researchers at the ODI therefore suggest that liberalisation has been good for producers by:[7]
providing farmers with more choice of buyers;
delivering cash payments promptly; and
maintaining stability in producer prices throughout the season.
Yet the question remains for policy-makers as to the benefits of the state controlling an export monopoly and its strong presence of the public sector in the internal market, whether there should be even more liberalisation, and whether it is providing the right incentives for producers to develop better (and sustainable) farming practices.[7]
References[edit]
Jump up ^ "Supply Chain Risk Assessment: Cocoa in Ghana". Forum for Agricultural Risk Management in Development. Retrieved 21 September 2013.
Jump up ^ "UPDATE 1-Ghana signs $1.2 bln cocoa loan for 2013/14 crop purchases". Reuters. September 20, 2013. Retrieved 21 September 2013.
Jump up ^ Salm & Falola 2002, p. 15.
Jump up ^ Bulir 1998, p. 4.
^ Jump up to: a b c d Clark, Nancy L. "Agriculture" (and subchapters). A Country Study: Ghana (La Verle Berry, editor). Library of Congress Federal Research Division (November 1994). This article incorporates text from this source, which is in the public domain.[1]
^ Jump up to: a b c d e f Marcella Vigneri 2007 Drivers of cocoa production growth in Ghana Overseas Development Institute
^ Jump up to: a b c d e f g Marcella Vigneri and Paulo Santos 2007 Ghana and the cocoa marketing dilemma: What has liberalisation without price competition achieved? Overseas Development Institute
Bibliography
Bulir, Ales (1 June 1998). The Price Incentive to Smuggle and the Cocoa Supply in Ghana, 1950-96. International Monetary Fund. ISBN 978-1-4518-9707-4.
Salm, Steven J.; Falola, Toyin (1 January 2002). Culture and Customs of Ghana. Greenwood Publishing Group. ISBN 978-0-313-32050-7.
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Trojan Records
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014) (Learn how and when to remove this template message)
Trojan Records
Parent company
Sanctuary Records Group
Founded
1968
Founder
Lee Gopthal
Genre
Ska
rocksteady
reggae
dub
dancehall
soul
Country of origin
United Kingdom
Official website
www.trojanrecords.com
Trojan Records is a British record label founded in 1968. It specialises in ska, rocksteady, reggae and dub music. The label currently operates under the Sanctuary Records Group. The name Trojan comes from the Croydon-built Trojan truck that was used as Duke Reid's sound system in Jamaica. The truck had "Duke Reid - The Trojan King of Sounds" painted on the sides, and the music played by Reid became known as the Trojan Sound.
Contents
[hide]
1 History
2 Influence on skinheads
3 Collectable Records
4 Labels licensed to Trojan
5 References
6 Further reading
7 External links
History[edit]
Trojan Records was founded in 1968 after Lee Gopthal, who operated the Musicland record retail chain and owned Beat & Commercial (B&C Records) Records pooled his Jamaican music interests with those of Chris Blackwell’s Island Records.
Trojan were instrumental in introducing reggae to a global audience and by 1970 had secured a series of major UK chart hits, with their successful artists from this period including Tony Tribe, Lee Perry's Upsetters, Bob and Marcia, Desmond Dekker, Jimmy Cliff, Harry Johnson's Harry J All Stars, The Maytals, The Melodians Nicky Thomas and Dave and Ansel Collins.
The bulk of the company’s successes came via licenses with Jamaican music supplied by producers such as Duke Reid, Harry Johnson and Leslie Kong, and while the company’s focus was firmly on the sale of 7” singles, it also launched a series of popular, budget-priced compilations such as Tighten Up, Club Reggae and Reggae Chartbusters.
In 1972, Chris Blackwell decided to withdraw Island Records interests in Trojan. By this time, the company was increasingly attempting to broaden the appeal of reggae on via re-mastering and overdubbing string arrangements over the original recordings. While the move initially paid dividends, the costs involved began to take their toll on the company’s finances and in 1975, the company was liquidated with its assets acquired by Marcel Rodd’s Saga Records, which until this time had primarily focused on releasing budget LPs.
In 1985, record collector and accountant Colin Newman purchased Trojan Records and over the years that ensued, the company mainly concentrated on re-releasing much of its back catalogue, issuing numerous ska, rock steady and reggae recordings. Among their most popular releases were the Trojan Box Set series, each featuing 50 songs on a 3-CD (or vinyl record) set in a simple ‘clamshell’ box. In addition, Trojan contributed a number reggae classics for various TV commercials campaigns, most notably for TDK, Adidas and the 2000 UEFA European Football Championship.
The Sanctuary Records Group purchased Trojan Records in 2001 for £10.25m and continued to focus on the label’s back impressive catalogue. In 2002, Trojan’s new owners acquired former UK rival record company, Creole Records, previously owned by Bruce White and Gary Himmelfarb’s US-based RAS Records.In August 2007, Universal Music Group had acquired 90% of Sanctuary Records after announcing in June a share offer that valued Sanctuary at $87.68 million.[1] In 2013 UMG sold their entire Sanctuary back catalog including Trojan to BMG as part of a divestment program that was a mandatory condition set by EU regulators when UMG acquired EMI in 2012.[2]
Influence on skinheads[edit]
Trojan skinheads, influenced by traditional 1960s skinhead culture, are named after Trojan Records, to stress the influence of black Jamaican music and the rude boy style to the skinhead subculture. This designation emphasizes differences from the punk rock-influenced Oi! skinheads of the 1980s. The logo of Skinheads Against Racial Prejudice (SHARP) is based on the Trojan Records logo, although the helmet is reversed to face the opposite direction.
Collectable Records[edit]
Over the years; as demand for many rare records has increased, a number of Trojan releases have become collectors items. For example, a 1969 single by The Slickers entitled "Run Fattie" sold for over £300 in 2015 [1]. Other collectable records on Trojan that have sold for £200 or more include "Night Of Love" by Ansel Collins [2], "Wiggle Waggle" by The Wandereres [3] and "Hang 'Em High" by Richard Ace [4].
Labels licensed to Trojan[edit]
Amalgamated
Attack
Big
Big Shot
Blue Cat
Bread
Clandisc
Down Town
Duke
Dynamic
Explosion
Gayfeet
GG
Green Door
Harry J
High Note
Horse
Hot Rod
Jackpot
Joe
Moodisc
Pressure Beat
Q
Randy's
Smash
Song Bird
Summit
Techniques
Treasure Isle
Upsetter
References[edit]
Jump up ^ UMG Seals Sanctuary Buyout Deal - Billboard Website - Article by Lars Brandle (2 August 2007). Retrieved 5 May 2013.
Jump up ^ BMG Buys Sanctuary Records Catalog - Variety Website - Article by Christopher Morris (15 February 2013). Retrieved 5 May 2013.
Further reading[edit]
Michael de Koningh & Laurence Cane-Honeysett: Young, Gifted And Black, The Story Of Trojan Records, 2003, Sanctuary Publishing, UK, ISBN 1-86074-464-8.
Neville Staple (2009) Original Rude Boy, Aurum Press. ISBN 978-1-84513-480-8
External links[edit]
Official Trojan Records site
45cat Trojan Records discography
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500 Days of Summer
From Wikipedia, the free encyclopedia
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500 Days of Summer
Theatrical release poster
Directed by
Marc Webb
Produced by
Mason Novick
Jessica Tuchinsky
Mark Waters
Steven J. Wolfe
Written by
Scott Neustadter
Michael H. Weber
Starring
Joseph Gordon-Levitt
Zooey Deschanel
Narrated by
Richard McGonagle
Music by
Mychael Danna
Rob Simonsen
Cinematography
Eric Steelberg
Edited by
Alan Edward Bell
Production
company
Dune Entertainment
Distributed by
Fox Searchlight Pictures
Release date
January 17, 2009 (2009-01-17) (Sundance)
August 7, 2009 (2009-08-07) (United States)
Running time
95 minutes
Country
United States
Language
English
Budget
$7.5 million[1][2]
Box office
$60.7 million[1]
500 Days of Summer (stylized as (500) Days of Summer) is a 2009 American romantic comedy-drama film by first time director Marc Webb[3] from a screenplay written by Scott Neustadter and Michael H. Weber, and produced by Mark Waters. The film stars Joseph Gordon-Levitt and Zooey Deschanel, and employs a nonlinear narrative structure, with the story based upon its male protagonist and his memories of a failed relationship.[4]
As an independent production, the film was picked up for distribution by Fox Searchlight Pictures and premiered at the 25th Sundance Film Festival. It garnered favorable reviews and became a successful "sleeper hit", earning over $60 million in worldwide returns, far exceeding its $7.5 million budget. Many critics lauded the film as one of the best from 2009 and drew comparisons to other acclaimed films such as Annie Hall (1977) and High Fidelity (2000).[4][5][6]
The film received Best Original Screenplay and Best Screenplay awards at the 14th Satellite Awards and 25th Independent Spirit Awards, respectively, as well as two nominations at the 67th Golden Globe Awards: Best Motion Picture – Musical or Comedy and Best Actor – Musical or Comedy (Gordon-Levitt).
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Writing
3.2 Direction
3.3 Filming locations
3.4 Marketing
4 Release
5 Reception
5.1 Box office
5.2 Critical response
5.3 Top Ten lists
5.4 Accolades
6 Soundtrack albums
6.1 Music from the Motion Picture
6.2 The Score from the Motion Picture
7 References
8 External links
Plot[edit]
The film is presented in a nonlinear narrative, jumping between various days within the 500 days of Tom and Summer's relationship. There is an on-screen timer showing the day. The following is a linear summary of the plot.
On January 8, Tom Hansen meets Summer Finn, his boss's new assistant. Tom is trained as an architect but works as a writer at a greeting card company in Los Angeles. After discovering they have a similar taste in music, they have a conversation about love at a karaoke night; Tom believes in it, but Summer does not. Tom's friend and co-worker McKenzie drunkenly reveals that Tom likes Summer, which Tom asserts is only "as friends", something Summer agrees with. A few days later, Summer kisses Tom in the copy room at work. During the next few months Summer and Tom grow closer.
Tom shows Summer his favorite spot in the city, which overlooks a number of buildings he likes, though the view is somewhat spoiled by parking lots. After several months of dating, both Tom's friends and his preteen half-sister Rachel push him to question Summer where they are in their relationship, though Summer brushes this off, saying that it should not matter if they are both happy. One night, Tom gets into a fight with a man who tries to pick up Summer in a bar, which causes their first argument. They make up and Summer concedes Tom deserves some certainty, but that his demand that she promises to always feel the same way about him would be impossible for anyone to make.
On day 290, they are hanging out in a cafe. Tom wants to go back to Summer's place but she insists on seeing The Graduate and weeps at the ending, which surprises Tom as he'd always thought it was a romantic fairy tale. They visit the record store, but Summer is distracted, appears to have lost interest in Tom, and kisses him good night. Tom tempts her with an offer of pancakes at a diner, where Summer casually announces that the relationship hasn't been working and breaks up with Tom while they are waiting for the food to arrive. Summer wants them to remain friends, but Tom is devastated.
Summer quits her job at the greeting card company. Tom's boss moves him to the consolations department, as his depression is making him unsuitable for happier events. Tom goes on a blind date with a woman named Alison. The date does not go well as he spends it complaining about Summer until an exasperated Alison ends up taking Summer's side. Months later, Tom attends co-worker Millie's wedding and tries to avoid Summer on the train, but she spots him and invites him for coffee. They have a good time at the wedding, dance together, and Summer catches the bouquet. She invites Tom to a party at her apartment and falls asleep on Tom's shoulder on the train ride back. He attends the party hoping to rekindle their relationship but barely gets to talk to Summer and spends most of the night drinking alone, until he spots her engagement ring. Tom leaves, close to tears. He enters a deep depression, only leaving his apartment for alcohol and junk food. After a few days, he returns to work with a hangover and, after an emotional outburst, quits his job. Rachel tells Tom that she does not believe Summer was "the one" and that his depression is being worsened by the fact that he is only looking back on the positive aspects of their relationship.
One day he suddenly finds the energy to get out of bed and rededicates himself to architecture, something Summer had pressured him to do. He makes a list of firms he wants to work for, assembles a portfolio, and goes to job interviews. On day 488, Summer is waiting for Tom at his favorite spot in the city and they talk. Summer explains that Tom was right about true love existing; he was just wrong about it being with her. She says she got married because she felt sure about her husband, something she wasn't with Tom. Summer puts her hand on Tom's and says she is glad to see he is doing well. As she leaves, Tom tells her he really hopes she is happy.
Twelve days later, on Wednesday, May 23, Tom attends a job interview and meets a girl who is also applying for the same job. He finds that she shares his favorite spot and dislike for the parking lots. As he is entering the interview, he invites her for coffee afterwards. She politely declines, then changes her mind. Her name is Autumn.
Cast[edit]
Joseph Gordon-Levitt as Tom Hansen, a trained architect who works as a writer at a greeting card company.
Zooey Deschanel as Summer Finn, assistant to Tom's boss and Tom's love interest.
Geoffrey Arend as McKenzie, Tom's co-worker at the greeting card company.
Chloë Grace Moretz as Rachel Hansen, Tom's younger half-sister.
Matthew Gray Gubler as Paul, one of Tom's friends.
Clark Gregg as Vance, Tom's boss.
Patricia Belcher as Millie
Rachel Boston as Alison, Tom's blind date.
Minka Kelly as Autumn
Maile Flanagan as Rhoda
Yvette Nicole Brown as Vance's New Secretary
Olivia Bagg as Young Summer
Richard McGonagle as Narrator
Harrison Ford as Han Solo (cameo)
Production[edit]
Writing[edit]
The style of film is presented in a nonlinear narrative. Each scene is introduced using a title card showing which of the 500 days it is.[7] Co-writer of the film Scott Neustadter admitted the film was based on a real romance. Neustadter explains that when he met the real girl who inspired the character Summer as a student at the London School of Economics in 2002, he was rebounding from a bad breakup back home, and promptly fell "crazily, madly, hopelessly in love" with the girl who "returned his kisses but not his ardor." The ending of the relationship was "painfully and unforgettably awful," which prompted him to co-write the film with Michael H. Weber. When Neustadter later showed the script to Summer's real life counterpart, she said she related more to the Tom character.[8][9] Weber also stated that, "we've all been in the trenches of love, we've all gone through the highs and lows, so Scott and I felt that the only way to tell this story was to come at it from a completely real place. It was pretty interesting for us because Scott was just going through a break-up and I was in a long-term relationship, so we each brought a totally opposite perspective, living it and not living it, and I think that tension helped to bring out more of the comedy".[10]
Direction[edit]
Director Marc Webb has described the film as more of a "coming of age" story as opposed to a "rom-com". He stated, "We arrive at a different conclusion, for one thing. Plus, most romantic comedies are more loyal to a formula than to emotional truth. It's about happiness, and learning that you'll find it within yourself, rather than in the big blue eyes of the girl in the cubicle down the hall. I wanted to make an unsentimental movie and an uncynical movie. In my mind, I wanted it to be something you could dance to. That's why we put a parenthesis in the title – it's like a pop song in movie form. It's not a big film. It's not about war or poverty. It's about 500 days in a young guy's relationship, but it's no less deserving of scrutiny. When your heart is first broken, it consumes you. And it's an emotion I wanted to make a movie about, before I forgot how it felt".[10] Webb also stated that Deschanel's character, Summer, is based on a stock character type; "Yes, Summer is an immature view of a woman. She's Tom's view of a woman. He doesn't see her complexity and the consequence for him is heartbreak. In Tom's eyes, Summer is perfection, but perfection has no depth. Summer's not a girl, she's a phase."[10] Gordon-Levitt explained that he was drawn to the role of Tom because of his relatability to the character. "I've had my heart broken before. Truly, truly broken. But when I look back at me in my heartbroken phase, it's pretty hilarious, because it felt so much more extreme than it really was. One of the things I love about 500 Days of Summer is that it doesn't make light of what we go through in romances, but it is honest about it and shows it for what it is, which is often profoundly funny".[10]
Filming locations[edit]
The Bradbury Building in Los Angeles was a filming location.
David Ng of the Los Angeles Times describes architecture as a star of the film.[11] Tom is seen reading Alain de Botton's The Architecture of Happiness. The film was originally set in San Francisco but was later moved to Los Angeles and the script rewritten to make better use of the location.[12] Buildings used include the Los Angeles Music Center (which includes the Dorothy Chandler Pavilion) and the towers of California Plaza.[11] The older Fine Arts Building is featured in the film, in a scene where Tom shows it to Summer and mentions its designers, Walker and Eisen, two of his favorite architects, although he incorrectly gives the partners' names as "Walker and Eisner."
Christopher Hawthorne of the Los Angeles Times describes the film as having "finely honed sense of taste" to include the Bradbury Building where Tom goes for his job interview.[13][14]
Marketing[edit]
To help promote the film, Gordon-Levitt and Deschanel starred in the debut episode of Microsoft Zune and Mean Magazine's "Cinemash" series. In the episode, they "mash" the characters from the film Sid and Nancy with story elements from 500 Days of Summer.[15]
Marc Webb created a music video as a companion piece to the film, titled "The Bank Heist". It features Deschanel and Gordon-Levitt dancing to "Why Do You Let Me Stay Here?", a song by Deschanel's folk group She & Him.[2] Webb remarked, "when we didn't include Zooey in the dance sequence [in 500 Days], she was a little heartbroken and I felt like I needed to remedy that."[16]
Release[edit]
Joseph Gordon-Levitt and Zooey Deschanel at the film's premiere in March 2009
The film made its debut at the 25th Sundance Film Festival. It proved a huge success and received a standing ovation from festival crowds upon screening.[17] In Europe, 500 Days of Summer premiered in Switzerland as the opening film of the 62nd Locarno Film Festival.[18]
Filmed independently, it was picked up for distribution by Fox Searchlight Pictures and opened in the United States and Canada on July 17, 2009, later expanding to wide release on August 7, 2009.[19] It was later also released on September 2, 2009, in Ireland and the United Kingdom, and opened in Australia on September 17, 2009.[20]
Reception[edit]
Box office[edit]
Upon the film's initial limited release in the U.S, it was expected to become the "breakout indie hit of the summer".[21] Later, during its full opening weekend, the film grossed twenty-seven times its original budget cost,[10] making it one of the most successful "sleeper hits" of the year.[22] By September 8, the film had taken in $1.9 million from 318 screens in the United Kingdom. This was regarded as a successful five-day opening by Fox Searchlight, earning around half as much as the science-fiction blockbuster District 9, which took in $3.5 million.[23] As of February 25, 2010 the film had grossed $32,391,374 in the United States and Canada and $60,722,734 worldwide.[24]
Critical response[edit]
500 Days of Summer received positive reviews, with critics particularly praising the screenplay and Gordon-Levitt's performance. On Rotten Tomatoes, the film is "Certified Fresh" with a rating of 85%, based on 215 reviews with an average rating of 7.6/10. The site's critical consensus reads, "A clever, offbeat romantic comedy, 500 Days of Summer is refreshingly honest and utterly charming."[25] Later, at the website's year-end "Golden Tomato Awards", which honored the best reviewed films of 2009, the film placed second in the romantic category.[26] On Metacritic, the film received an average score of 76/100 based on 36 reviews, indicating "generally favorable reviews".[27]
Roger Ebert of the Chicago Sun-Times gave the film four stars out of four. He described the film as "a delightful comedy, alive with invention". He particularly praised the strong performances of Gordon-Levitt and Deschanel and summarized his review by adding, "Here is a rare movie that begins by telling us how it will end and is about how the hero has no idea why".[28] Premiere also awarded the film four stars out of four, stating "Much like the actual summer (the season, not the character), we never wanted it to end".[29]
Michael Ordoña of the Los Angeles Times gave a positive review. He wrote, "500 Days of Summer is something seldom seen: an original romantic comedy. It bristles with energy, emotion and intellect, as it flits about the dizzying highs and weeping-karaoke lows of a passionate entanglement".[30] Dana Stevens of Slate also praised the film and described it as "a keeper. It's fun both to watch and to talk about afterward, and it possesses the elusive rom-com sine qua non: two equally appealing leads who bounce wonderfully off each other".[31]
Lou Lumenick of the New York Post awarded the film three stars out of four. He praised the directing of Marc Webb, stating, "it's the oldest bittersweet story in the book, of course, but music-video director Marc Webb approaches his feature debut with great confidence, flair and a minimum of schmaltz. That's the whole guy-centric point of 500 Days of Summer, though. Sometimes you never, ever truly figure out why these mysterious creatures break your heart".[32]
Entertainment Weekly critic Owen Gleiberman gave the film an "A", and also praised the originality of the story; "Most romantic comedies have half a dozen situations at best: Meet Cute, Infatuation, Pop Song Montage, Contrived Mix-Up, Angry Breakup, and Final Clinch. 500 Days of Summer is about the many unclassifiable moments in between. It's a feat of star acting, and it helps make 500 Days not just bitter or sweet but everything in between".[33]
Film Threat critic Scott Knopf gave the film a maximum five-star rating and called the script "fantastic". He also lauded the film's innovative nature; "Of course they meet. Of course they fall for each other. Of course there are problems. It sounds cliché but what's remarkable about 500 Days is how the film explores new ways to tell the world's oldest story". He concluded that the film was "the best romantic comedy since Love Actually."[34]
Peter Travers of Rolling Stone gave the film three and a half stars out of four. He wrote, "Boy meets girl, boy loses girl. It's been done to emo death. That's why the sublimely smart-sexy-joyful-sad 500 Days of Summer hits you like a blast of pure romantic oxygen" and concludes: "500 Days is otherwise a different kind of love story: an honest one that takes a piece out of you".[35] IGN critic Eric Goldman scored the film at 9.0/10 upon his review of the Blu-ray release. He praised the film as "one of the best of 2009" and particularly complimented the innovative nature of the story in an often clichéd genre; "500 Days of Summer proved there is a way to bring something fresh and new to one of the most cliché and often frustrating genres – the romantic comedy".[36] The New York Times[37] and Empire gave the film 4/5.[38]
Scott Tobias of The A.V. Club also gave the film favourable reviews with a B- grade.[39]
NPR was more dismissive: "For all its rhetorical whimsy and hipster dressings, 500 Days of Summer is a thoroughly conservative affair, as culturally and romantically status quo as any Jennifer Aniston vehicle."[40] Joe Morgenstern of The Wall Street Journal was also more critical, calling it, "synthetic and derivative, a movie that's popping with perceptions while searching for a style."[41]
British newspaper The Times gave a mixed review. Despite Toby Young awarding the film three stars out of five, he critiqued, "It is hardly the freshest romantic comedy of past 20 years. Taking the best bits from other movies and rearranging them in a non-linear sequence does not make for an original film."[42] The Guardian film critic Peter Bradshaw said the film was "let down by sitcom cliches, and by being weirdly incurious about the inner life of its female lead."[43]
Mark Adams of the Daily Mirror, though, gave the film a glowing review, awarding it a full five stars, and writing, "It is a modern romance for grown-ups... a sweet-natured, funny, deeply-romantic tale that brims with energy and is blessed with top-notch performances by Deschanel and Gordon-Levitt, who are both charming and have real chemistry".[44] Chris Tookey of the Daily Mail was also impressed and described the film as "delightful and endearing", awarding four stars out of five. He wrote, "For the young, this is a worthwhile cautionary tale. If you're of more mature vintage, it will make you remember how it felt to be naive, energised by first love and mortified when that certain someone turned out not to love you nearly as much as you would have liked".[45]
Jordan Mattos of the World Socialist Web Site gave the film a negative review, stating that its omission of "the material realities and complexities that play a hand in determining the fate of contemporary relationships... comes at too high a price". He praised Deschanel's performance as "honest, and terrifying in its calculating precision" but condemned the film for not taking "a searching look" at the development of Summer's personality.[46]
Chelsey Aquino of Racket Magazine gave the film a positive review, granting the film a score of 8.5 out of 10. She wrote "500 Days was a breath of fresh air; they weren't afraid of showing the pear-shaped, more real and complex side of romance versus all the old clichés." Praise was also given, complimenting how 500 Days of Summer was "a rare kind of film that transcends its genre and the stereotypes that it's often associated with."[47]
Top Ten lists[edit]
The film was also included in several "Top Ten" year end lists for 2009 by various film critics.
Publication
Rank
St. Louis Post Dispatch 1[48]
About.com 2[49]
The Capital Times 2[50]
BBC Radio 1 3[51]
Richard Roeper 4[48]
Miami Herald 5[48]
Entertainment Weekly 6[48]
USA Today 6[48]
Associated Press 7[52]
The Hollywood Reporter 7[48]
New York Daily News 7[48]
Premiere 7[48]
Chicago Reader 8[48]
Rolling Stone 9[48]
National Board of Review N/A[53]
Accolades[edit]
Scott Neustadter and Michael H. Weber received numerous awards for their screenplay; including the 2009 Hollywood Film Festival's Hollywood Breakthrough Screenwriter Award on October 26, 2009,[54] the Satellite Award for Best Original Screenplay,[55] the Southeastern Film Critics Association Award for Best Original Screenplay (with the film also being named in the Top Ten Films of the Year),[56] as well as the Las Vegas Film Critics Society Award for Best Screenplay.[57]
Alan Edward Bell won the San Diego Film Critics Society Award for Best Editing,[58] as well as the film being named one of the ten best movies of the year by the National Board of Review Awards 2009.[53] The film also received two nominations at the 67th Golden Globe Awards announced on December 15, 2009, for Best Motion Picture – Musical or Comedy and for Joseph Gordon-Levitt for Best Actor – Musical or Comedy. It has been nominated for four Independent Spirit Awards and won the award for Best Screenplay.
Awards
Group
Category
Recipient(s)
Outcome
Chicago Film Critics Association Most Promising Filmmaker Marc Webb Nominated
Critics' Choice Movie Awards Best Comedy Nominated
Best Original Screenplay Scott Neustadter and Michael H. Weber
Denver Film Critics Society Best Original Screenplay Scott Neustadter and Michael H. Weber Nominated
Detroit Film Critics Society Best Film Nominated
Best Director Marc Webb
Best Actor Joseph Gordon-Levitt
Golden Globe Awards Best Motion Picture – Musical or Comedy Nominated
Best Actor – Motion Picture Musical or Comedy Joseph Gordon-Levitt
Hollywood Film Festival Breakthrough Screenwriter Scott Neustadter and Michael H. Weber Won
Houston Film Critics Society Best Picture Nominated
Independent Spirit Award Best Film Nominated
Best Screenplay Scott Neustadter and Michael H. Weber Won
Best Male Lead Joseph Gordon-Levitt Nominated
Indiana Film Critics Association Top 10 Films of the Year
Las Vegas Film Critics Society Best Screenplay Scott Neustadter and Michael H. Weber Won
National Board of Review Top 10 Films of the Year
Best Directorial Debut Marc Webb Won
Oklahoma Film Critics Circle Best Film Nominated
Best Original Screenplay Scott Neustadter and Michael H. Weber Won
People's Choice Award Favorite Independent Movie Nominated
San Diego Film Critics Society Best Editing Alan Edward Bell Won
Satellite Award Top 10 Films of the Year
Best Original Screenplay Scott Neustadter and Michael H. Weber Won
Best Actress – Motion Picture Musical or Comedy Zooey Deschanel Nominated
Southeastern Film Critics Association Top 10 Films of the Year
Best Original Screenplay Scott Neustadler and Michael H. Weber Won
St. Louis Gateway Film Critics Association Best Picture Nominated
Best Comedy
Best Screenplay Scott Neustadter and Michael H. Weber Won
Most Original, Innovative or Creative Film Nominated
Favorite Scene 'Expectations vs. reality' split-screen sequence
'Morning after' dance number
Utah Film Critics Association Best Screenplay Scott Neustadter and Michael H. Weber Nominated
Washington D.C. Area Film Critics Association Best Original Screenplay Scott Neustadter and Michael H. Weber Nominated
Writers Guild of America Best Original Screenplay Scott Neustadter and Michael H. Weber Nominated
Soundtrack albums[edit]
Two soundtrack albums were released for 500 Days of Summer. The first, consisting of various pop songs from the film, was released through Sire Records and reached no. 42 on the Billboard 200 sales chart.[59] Andrew Leahey of Allmusic rated the album three and a half stars out of five, saying "With music playing such an integral role in the story line, it's refreshing to see that the accompanying soundtrack does its job well, distilling the characters' record collections (not to mention the movie's quirky, nostalgic ambiance) into one eclectic track list."[60] The second album consists of the film's musical score, composed by Mychael Danna and Rob Simonsen.
Music from the Motion Picture[edit]
500 Days of Summer
Soundtrack album
Released
July 14, 2009
Genre
Indie rock, alternative rock, folk
Length
52:26
Label
Sire
No.
Title
Writer(s)
Performer
Length
1. "A Story of Boy Meets Girl" Mychael Danna, Rob Simonsen Richard McGonagle 1:35
2. "Us" (from Soviet Kitsch, 2004) Regina Spektor Regina Spektor 4:49
3. "There Is a Light That Never Goes Out" (from The Queen Is Dead, 1986) Johnny Marr, Morrissey The Smiths 4:03
4. "Bad Kids" (from Good Bad Not Evil, 2007) Cole Alexander, Ian Brown, Jared Swilley, Joseph Bradley Black Lips 2:08
5. "Please, Please, Please Let Me Get What I Want" (from "William, It Was Really Nothing", 1984) Marr, Morrissey The Smiths 1:52
6. "There Goes the Fear" (from The Last Broadcast, 2002) James Goodwin, Andrew Williams, Jeremy Williams Doves 6:56
7. "You Make My Dreams" (from Voices, 1980) Sara Allen, Daryl Hall, John Oates Hall & Oates 3:05
8. "Sweet Disposition" (from Conditions, 2009) Lorenzo Sillitto, Dougy Mandagi The Temper Trap 3:53
9. "Quelqu'un m'a dit" (from Quelqu'un m'a dit, 2003) Carla Bruni, Leos Carax Carla Bruni 2:44
10. "Mushaboom" (from Let It Die, 2004) Leslie Feist Feist 3:44
11. "Hero" (from Begin to Hope, 2006) Spektor Regina Spektor 3:31
12. "Bookends" (from Bookends, 1968) Paul Simon Simon & Garfunkel 1:20
13. "Vagabond" (from Wolfmother, 2005) Myles Heskett, Chris Ross, Andrew Stockdale Wolfmother 3:47
14. "She's Got You High" (from These Things Move in Threes, 2007) James Arguile, Niall Buckler, Oli Frost, Gareth Jennings, James New Mumm-Ra 3:25
15. "Here Comes Your Man" (originally performed by the Pixies) Charles Thompson Meaghan Smith 3:13
16. "Please, Please, Please Let Me Get What I Want" (originally performed by The Smiths) Marr, Morrissey She & Him 2:12
[show]iTunes bonus tracks
No.
Title
Writer(s)
Performer
Length
17. "Here Comes Your Man" (originally performed by the Pixies) Thompson Joseph Gordon-Levitt
18. "Sugar Town" (originally performed by Nancy Sinatra) Lee Hazlewood Zooey Deschanel
19. "At Last" (originally performed by Etta James) Mack Gordon, Harry Warren Kevin Michael
The Score from the Motion Picture[edit]
500 Days of Summer
Soundtrack album
All tracks written by Mychael Danna and Rob Simonsen[61].
No.
Title
Length
1. "Main Title" 1:35
2. "Trouble" 0:47
3. "Things Were Going So Well" 1:46
4. "I Want to Get Her Back" 2:23
5. "Anal Girl" 1:39
6. "Friends" 2:14
7. "Ikea" 0:57
8. "After Dance" 0:56
9. "Serious" 1:15
10. "87" 1:32
11. "Arm Drawing" 2:55
12. "Nobody Can" 2:04
13. "Art Gallery" 1:23
14. "New Wave" 1:19
15. "I Love Us" 2:40
16. "Blind Date" 1:39
17. "I'm Not Going" 1:21
18. "Train Ride Home" 0:53
19. "Sketching Again" 1:48
20. "To the Architect" 3:50
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Jump up ^ Lumenick, Lou (July 17, 2009). "Bittersweet symphony: 500 Days is a clinic of chemistry & classic rom-com". New York Post. p. 37. Retrieved January 8, 2010.
Jump up ^ Gleiberman, Owen (July 31, 2009). "Movie Review: 500 Days of Summer". Entertainment Weekly. Archived from the original on August 13, 2009. Retrieved January 8, 2010.
Jump up ^ Knopf, Scott. "500 Days of Summer". Film Threat. Archived from the original on August 13, 2009. Retrieved April 14, 2010.
Jump up ^ Travers, Peter. "500 Days of Summer: Review". Rolling Stone. Retrieved January 8, 2011.
Jump up ^ Goldman, Eric. "500 Days of Summer Blu-ray Review: A wonderful, fresh take on the romantic comedy gets the HD treatment". IGN. Retrieved January 8, 2010.
Jump up ^ Scott, A.O. (July 17, 2009). "Love at the Greeting Card Company: Best Wishes on Your Breakup". The New York Times. p. C10. Retrieved January 8, 2010.
Jump up ^ "500 Days of Summer (12A)". Empire. Retrieved January 23, 2010.
Jump up ^ Tobias, Scott. "500 Days of Summer". The A.V. Club. Archived from the original on August 13, 2009. Retrieved January 8, 2010.
Jump up ^ Lee, Nathan. "Days of Summer: Ephron for the Hipster S". NPR. Retrieved January 8, 2010.
Jump up ^ Morgenstern, Joe (July 24, 2009). "Love Cools in Summer". The Wall Street Journal. Retrieved March 1, 2010.
Jump up ^ Young, Toby (September 4, 2009). "500 Days of Summer". The Times. London. Retrieved January 8, 2010.
Jump up ^ Peter Bradshaw (September 3, 2009). "500 Days of Summer". The Guardian. London. Retrieved January 8, 2010.
Jump up ^ Adams, Mark. "500 Days of Summer". Daily Mirror. Retrieved January 8, 2010.
Jump up ^ Tookey, Chris (September 4, 2009). "500 Days of Summer: You'll fall head over heels for this lopsided love story". Daily Mail. London. Retrieved January 8, 2010.
Jump up ^ Mattos, Jordan. "500 Days of Summer: The eternally sunlit paradise that is Los Angeles". World Socialist Web Site. International Committee of the Fourth International. Retrieved June 2, 2013.
Jump up ^ http://racketmag.com/news/500-days-of-summer-movie-review
^ Jump up to: a b c d e f g h i j "Film Critic Top Ten Lists 2009". Metacritic. Archived from the original on July 20, 2011. Retrieved January 18, 2010.
Jump up ^ Rebecca Murray. "Top 10 Movies of 2009". About.com. Retrieved January 17, 2010.
Jump up ^ Rob Thomas. "Best movies of 2009". The Capital Times. Retrieved December 23, 2009.
Jump up ^ James King. "2009 Movie Review". BBC Radio 1. Retrieved December 26, 2010.
Jump up ^ David Germain. "Up, Hurt Locker among year's best films". Associated Press. Retrieved January 13, 2010.
^ Jump up to: a b "Awards for 2009". National Board of Review. Retrieved January 8, 2010.
Jump up ^ "Hollywood Fest Honors Carey Mulligan, Jeremy Renner, Lee Daniels, Gabourey Sidibe, and Scott Neustadter & Michael H. Weber". HollywoodAwards.com. Archived from the original on September 26, 2010. Retrieved January 8, 2010.
Jump up ^ "2009 14th Annual SATELLITE AWARDS". International Press Academy. Archived from the original on October 16, 2010. Retrieved January 17, 2010.
Jump up ^ "2009 SEFCA Best Films of the Year". Southeastern Film Critics Association. Archived from the original on December 17, 2010. Retrieved January 21, 2010.
Jump up ^ "2009 Las Vegas Film Critics Society Awards". altfg.com. Retrieved January 21, 2010.
Jump up ^ "Critics Elsewhere Weigh In On Years' Best," Dec 30, 2009, San Diego Union-Tribune. Retrieved Dec 4, 2017
Jump up ^ "500 Days of Summer – Original Soundtrack". Billboard. Retrieved January 8, 2010.
Jump up ^ Leahey, Andrew. "Review: (500) Days of Summer". AllMusic. Retrieved 2015-08-28.
Jump up ^ "(500) Days of Summer Original Score". AllMusic. Retrieved 2015-08-28.
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