A charming and not-so-subtly subversive blend of classic rom-com formula, post-modern irony, and classic literature, Young Werther takes familiar elements from established greats and reinterprets them in clever ways. Based on “the smash hit novel” of the 18th century, Goethe’s The Sorrows of Young Werther, filmmaker José Lourenço’s modern day, Canadian-ized take on a dapper, egotistical dandy pining for a love they could never have generates big laughs thanks to a sharp script and a pair of perfectly matched leading performances from Douglas Booth and Alison Pill.
The titular Werther (Booth) – now from Westmount section of Montreal, instead of the made up village of Wahlheim – has arrived in Toronto with his germaphobic best friend/second Paul (Jaouhar Ben Ayed) for a brief stopover during his travels. In a bit of a meet cute, Werther happens upon the strong willed, witty, and happily taken Charlotte (Pill). Immediately smitten, Werther keeps extending his stay in Toronto (much to Paul’s chagrin and consternation) so he can stay close to Charlotte, who is engaged to wed the well-to-do, kind, and civically minded Albert (Patrick J. Adams). Werther and Charlotte quickly become fast friends and develop a sort of modern day “emotional affair,” but when the lovestruck young man can’t leave well enough alone, he comes on stronger than ever before and risks rubbing everyone around him the wrong way.
Writer-director Lourenço sets the tone of his first feature somewhere between Wes Anderson high society quirkiness, Toronto set rom-com stalwart The F Word, and the referentially snappy dialogue of 10 Things I Hate About You. Although the primary antihero at the heart of Young Werther can be a bit much to handle, Lourenço knows that the wit and vision at the heart of the screenplay is capable of carrying the load alongside his effortlessly capable stars. Young Werther has an oddball sensibility that’s charming even when viewers will find themselves conflicted about the validity of the core romance. The commitment to dialogue that’s often filled with purposefully flowery prose is full and appreciated. It might sound off and atonal to some ears, but that’s the point.
Young Werther creates a world where people make often poor decisions, but anything seems possible. Toronto looks like a vibrant place, full of promise, hope, and romance. (If nothing else, sales at Bar Ape will likely go through the roof if enough people catch this.) There are places for grand gestures, quiet moments of self reflection, and spaces for characters to make deeper connections. It frankly makes the city look better than it sometimes deserves to appear these days, but that only makes the romantic fantasy all the more delightful.
As Lourenço’s story plays out, Werther becomes progressively more desperate and unlikeable, and it’s a testament to Booth and Pill that they’re able to make their “situationship” into something that remains compelling and not off-putting. Both possess impeccable comedic timing and can turn any phrase into either a guffaw or giggle. Pill brings a lot of class, grace, and inner conflict to her turn as Charlotte, while Booth throws any sense of self-awareness to the winds as a wannabe romantic who has little clue how to interact with a crush.
But viewers’ mileage may vary when it comes to Young Werther, and that all comes down to how much they will end up despising the titular character in the film’s second half. Lourenço never shies away from showing the darker side of these people, while keeping his tongue firmly in cheek. It’s a good reflection of source material that’s already problematic enough on its own antiquated terms because this adaptation finds the meat of the emotional journey and transforms it into something fresh without sanding off the rougher edges. It might not be everyone’s cup of tea, but for those who like their rom-coms to show some edge and a value for the viewer’s intelligence, Young Werther will hit a sweet spot.
Young Werther is now playing in select Canadian cities.
