(Written by Intern, Sean Barry)
During the 1990s and 2000s, Hollywood was oversaturated with stories where a man humorously pines for a woman’s affection. Romantic comedies often grew formulaic, condoning problematic character choices as playful. Young Werther breathes fresh air into the genre, recognizing missteps within previous entries and going its own way, while still paying homage to what came before. With a sharp script and highly auteurist visuals, stylistic choices often feel inspired by Yorgos Lanthimos’ work. Poignant relationships stem, and thought-provoking bonds form in the most unlikely of places, an aspect normally absent from similar works of fiction.
Werther (Douglas Booth) is a charming romantic who falls hopelessly in love with Charlotte (Alison Pill) after seeing her unwillingness to comply with typical party and small talk atmospheres. After a spontaneous night out upon meeting, he discovers she is already engaged to Albert (Patrick J. Adams), a kind but workaholic lawyer who barely makes time for his fiance. Werther and Charlotte soon spend much of their time together. Starting as “best friends,” Charlotte’s feelings for Werther grow past platonic sentiments. Although Paul (Jaouhar Ben Ayed), his closest confidant, advises him to the contrary, Werther continues his quest to homewreck Albert’s approaching wedding and take Charlotte for himself.
Despite its adoption from the passé 18th century German novel “The Sorrows of Young Werther,” Young Werther never feels outdated. Writer/director José Lourenço updates the source material, noting how little societal attitudes towards deplorable male behavior have changed. Werther’s presentation as an awkward and clumsy dork is a welcome substitute for the typical suave and macho leading man. Whenever he acts selfishly, he is appropriately painted as a villain, but his countless immoral deeds scene after scene can feel slightly laborious to sit through. His presence and natural protagonistic arc are nonetheless a joy to watch, due largely to Douglas Booth’s performance.
Each actor brings their respective role to life in a manner complementing the preexisting mood and texture. Alison Pill displays a wide range of emotion as a woman caught in the middle of a love triangle. Her attitude towards each clashing relationship gradually shifts back and forth, and Pill perfectly conveys Charlotte’s internal conflict at each step. Iris Apatow steals nearly every scene as Charlotte’s troubled sister, Sissy. Her character provides a grounded sense of reality, and Apatow’s intensity and heart are noteworthy additions to the light comedy. Jaouhar Ben Ayed excels as Paul, a character who serves as both a voice of reason and a stand-in for the audience, openly challenging Werther’s poor behavior. He unfortunately provides too little of note to the narrative to warrant his inclusion, especially in the first half when his habitual moments with Werther lack much purpose besides extra laughs.
José Lourenço’s whimsical screenplay is not the only example of his eccentric filmmaking. Aesthetically striking colors pop, especially when accented alongside eye-catching wardrobe. Costumes never look thrown together without purpose. Nick Haight’s cinematography deserves equal praise for its unique visual style. Imagery is often distorted throughout the entire frame aside for central action. In order to emphasize Werther’s streamlined intent to marry Charlotte with no consideration for other factors, backgrounds and borders are blurred while the main subject remains in focus. Even though comedic elements can sometimes seem uneven, Young Werther stands as a hopeful example for the future of romantic comedy.
Discover if Young Werther can win the heart of the woman he loves and free her from an ill-suited engagement when this quaint rom-com arrives in theaters on December 13th.
