So rarely do you find a movie where everyone in it is inherently good. Flawed, yes, but still good, deep down. Yet, that is the case with Young Werther, which premiered today at the Toronto International Film Festival. The story is based on The Sorrows of Young Werther by Johann Wolfgang von Goethe, which was written in 1774. Like many classics, including Shakespeare’s Romeo & Juliet and Taming of the Shrew, they put a modern twist on the story, much like Baz Luhrmann Romeo & Juliet and 10 Things I Hate About You.
The story follows Werther, who, on a day trip from Montreal to Toronto (shout out Canada!), meets a young woman named Charlotte, and it’s love at first sight…for him, anyway. This chance encounter blossoms over the course of a day, only for Werther to find out that she is engaged, and his heart is broken. Determined, he sets out to win her heart while her fiance prioritizes work, and she finds herself swept up in him.
Though her intentions aren’t to stray from her pending nuptials, she finds herself drawn to Werther, ultimately needing to cut him out to save her relationship. It’s interesting to see how Young Werther blends the classic story with modern 2024 references, such as using “ghosting” as a way to end the fling.
Young Werther continues this trend through its use of language, set pieces, costumes, and props. Werther’s entire wardrobe reflects that of a gentleman from a bygone era, complete with tailored suits, daily ties, and paperboy hats. His language, and occasionally that of others, is more ornate than what we would use today, with phrases like “helping me fetch supplies” and similar expressions.
“It is interesting to see all the ways that Young Werther blends the classic story with 2024 references, including using “ghosting” to break up the fling.”
Though he owns a smartphone, Werther writes on a typewriter until we see him grow as a person, at which point he transitions to a laptop. Even when taking a phone call, he ducks into a wooden telephone booth to use his smartphone. The offices in Werther’s world resemble something out of the 1900s, while Albert’s office is distinctly modern. As we see Charlotte and Werther drift apart, their surroundings become increasingly modern, symbolizing their shift away from the classic love story and back into their rightful place in time.
Young Werther uses the contrast between time periods both comedically and symbolically. Director and writer José Lourenço made smart choices in Young Werther that are good for a laugh but also carry meaning, never feeling cheap. While some of the comedic moments verge on slapstick, these instances are few and far between. From the moment the story begins with old-timey captions, viewers are captivated and remain engaged, for the most part.
However, despite Young Werther being just over 90 minutes long, the story starts to drag somewhere in the middle. It could be argued that as Charlotte and Werther’s whirlwind romance begins to unravel, we, as viewers, are no longer as swept up in it either. But realistically, I found myself checking my watch.
“Director and writer José Lourenço made smart choices in Young Werther that were good for a laugh but also felt meaningful, never feeling cheap.”
That isn’t to say the story isn’t still interesting. Young Werther is a beautiful tale about love, responsibilities, growth, and self-discovery. Werther begins as a young, immature, and selfish boy, but by the end, he gains some perspective on life and love. Charlotte and Albert also learn what truly matters in life, engaging in self-reflection to repair themselves and their relationships.
One of the most intriguing aspects of Young Werther is how genuinely good all the characters are, even Werther, despite his naivety and selfishness. The worst flaw among them is Albert’s hunting, but given the blend of the original time period with the present, even that is forgivable. Crafting a story without a clear hero or villain can be challenging, yet Lourenço manages to do it flawlessly.
From the very start, you have no idea who you’re rooting for. Is it Douglas Booth’s Werther, who is carefree, passionate and determined? Is it Alison’s Pill’s (Scott Pilgrim Takes Off) Charlotte, who is selfless, lost and deserves nothing but love? Or is it Patrick J. Adams’ (Suits, A League of Their Own) Albert, who has taken on Charlotte’s young siblings as his own, is a successful, caring lawyer, and only wants good for the world?
And from there, you have a second choice: Which couple are you rooting for? Werther seems to bring out the very best in Charlotte, breathing life into a woman who has lost herself in caring for her family. Albert will provide for Charlotte and love her deeply in his own way, giving her a chance at a stable future. By the end of Young Werther, you feel at peace with how things turned out, even though none were quite what you wanted, deep down.
“By the end of Young Werther, you feel at peace with how things turned out, even though none were quite what you wanted, deep down.”
Young Werther‘s main cast is outstanding. Alison Pill flawlessly portrays Charlotte with a sense of innocence, torn between her duties and her longing for freedom. At one point in the film, she makes a dramatic heel turn to truly get her point across, and the sudden shift from good to evil is sharp and biting. Her entire demeanor changes in an instant, and Pill’s performance brought me to tears.
Patrick J. Adams is as lovable and smart as he was in Suits (I like to think these are in the same universe). He was the perfect choice for Albert—handsome and charming, yet still possessing a boy-next-door sweetness that makes him impossible to hate, even for Werther. Albert’s character has his own ups and downs, allowing Adams to showcase all sides of the character and make us fall in love with him.
Werther himself could have easily been miscast. The character is chatty, self-indulgent, cocky, and passionate. The actor who plays this role ultimately makes or breaks the story, as the character could have easily become someone viewers can’t stand to see on screen.
Douglas Booth is the perfect blend of salty and sweet. His excellent comedic timing and ability to deliver monologue after monologue keep us, as viewers, hanging on his every word. He is charming and cocky, but in a way that we somehow find endearing. We feel his pain when he’s hurt, and we’re happy to see him learn and grow as a person. Booth couldn’t have been more perfect for the role.
“Young Werther was my first film of TIFF 2024, and I am thrilled to be starting the festival off on such a strong point.”
The supporting cast was also nothing to scoff at. I was immediately excited to see Amrit Kaur from The Sex Lives of College Girls in the role of Melanie, Charlotte’s best friend. She remains an excellent comedic actor, though she plays a very similar role to the one she plays in the series for which she is known.
Paul, played by Jaouhar Ben Ayed (House of the Dragon), easily kept up in the fast-paced story and never faded into the background, even though his role was somewhat secondary. Holding your own in scenes where viewers are meant to be swept up in Werther is no small feat. However, to be honest, the role could have been written out entirely without significantly impacting the story. Paul mainly served as a means for Werther to deliver his numerous monologues without the need for a voice-over.
The weakest part of the film was Iris Apatow. Despite beginning her acting career at a young age, largely due to her father, Judd Apatow, she hasn’t shown much growth as an actor. Her scenes were filled with the whiny, over-the-top reactions she’s known for, and her moments of sorrow felt incredibly insincere. She was intended to provide comedic relief, but even her timing in those moments fell flat.
Young Werther was my first film of TIFF 2024, and I’m thrilled to be starting the festival on such a strong note. With smart, purposeful writing and direction, perfect casting, and a story to die for, Young Werther will undoubtedly be one of the best comedies at TIFF 2024.
Check out more of CGMagazine’s TIFF 2024 coverage here throughout the festival.
