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For those who have seen Brick, they already knew of the great potential of Gordon-Levitt, so his perfect performance of a hopeless romantic who listens to indie rock should be no surprise. Gordon-Levitt hits every note of Tom right, as he displays attraction, infatuation, yearning, heartbreak and anger in the course of 90 minutes. We totally believe in Tom's optimism when he finds a cute girl who shares his interest, yet remains blinded to her flaws and her disinterest in a long time commitment. As a result, the audience is just as blind to Summer's disinterest. This helps set up the movie's best scene after Tom seals the deal with Summer. The morning after, as Tom walks to work, a dance number breaks out to Hall & Oates "You Make My Dreams Come True." Tom envisions himself as Han Solo, while a band plays in the background to reflect Tom's mood. Without Gordon-Levitt's controlled but suitably elated performance, the scene raises from a tired gimmick to a perfect reflection of Tom's elation.

Yet, Gordon-Levitt is just as great displaying the depression and refusal that follows a difficult break-up, and then displaying the difficult realization that his lost love has found a greater love in an unknown man. In my case, I lost the girl to some British douchebag who constantly cheated on her. Tom loses Summer to a guy who has never heard of Dorian Gray. I don't know which is worse. When Tom responds by saying, "Roses are red, violets are blue, fuck you, whore," his pain really registers, not because he is simply angry, but because we're so familiar with his investment and we believe in how he feels about Summer, something that Summer remained oblivious to.

On the other hand, while Tom remains idealistic about love, Deschanel perfectly represents Summer, who remains idealistic about living a whimsical, independent life. Summer doesn't want to break Tom's heart, nor remain oblivious to why Tom hurts, but regardless of intent she does. Yet, because Deschanel knows her character so well and respects her character, we don't doubt her obliviousness to Tom's ardor and his pain. We also can't help but be drawn to this precocious woman with an affinity for The Smiths and running around Ikea.

Upon second viewing, one begins to pick up the lost signals that Tom missed as well, a frown here and a moment of boredom there. Summer is a girl who likes taking life from moment to moment, enjoying the randomness that is thrown her way. For a while, Tom serves that purpose, but like many relationships, those moments die out as the weeks and months wear on. Summer grows tired of something that was once exciting, while Tom clings on to a hope and memory that no longer exist. And when Summer does find her love, Deschanel presents as a different character. She seems more mature and self-assured than the girl that lived moment to moment.

Both Gordon-Levitt and Deschanel were supported strongly by a screenplay that was also robbed of a nomination. Scott Neustadter and Michael Weber's screenplay isn't nearly as unconventional as some would like to make it to be, but by crafting real characters in real situations, the writers elevate the material beyond romantic comedy. They present a relationship as it really is - a random memory of different events that is difficult to put together than a linear narrative. Both Deschanel and Levitt pick up on this and help create a story and characters that were wrongfully shunned by the Academy.

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