Looking back at the long illustrious history of romantic cinema, literary adaptations have been a staple since the very beginning. It seems unusual then, that one of the most influential novels of the romantic era — Goethe's The Sorrows of Young Werther —has rarely been adapted for the screen. However, writer-director José Avelino Corbett Lourenço is here to give this classic German tale of unrequited love, the modern treatment.
In the original novel, we meet the Young Werther, who finds himself enamoured with the beautiful Charlotte, a young woman who cares for her siblings following the death of their mother. However, once head over heels in love with her, Werther discovers that she's already engaged to the older Albert – a fact that drives him to distraction, and eventually suicide. Lourenço's adaptation, I've Never Wanted Anyone More, transfers the action from 1700s Germany to modern-day Toronto, and while it forgoes the suicidal tendencies that characterise the source material, the central love triangle remains intact.
In this reimagining, Werther (Douglas Booth) is a young writer, sent to the city on an errand for his wealthy mother, but who is quickly distracted from the task at hand upon meeting the gentle, radiant Charlotte (Alison Pill) and her younger sister Sissy (Iris Apatow). After a night of drinking, dancing, and laughing, Werther finds himself utterly besotted with Charlotte's soft-spoken charm. He's given a rude awakening however when Charlotte informs him of the existence of her lawyer fiancé Albert (Patrick J. Adams). A stubborn man who worships his feelings above all else, Werther is unperturbed, and finds himself making his way into the lives of both Charlotte and Albert, becoming close friends of them both – as well as the object of the young Sissy's affections. Charlotte, who feels neglected by Albert's career-driven focus, finds herself sinking into Werther's warmth and flirtations, until the reality of the situation comes crashing down.
In many ways, The Sorrows of Young Werther is a difficult novel to adapt, and this attempt reminds viewers of why. Namely, the Werther of it all. Our protagonist is a bolshy, selfish narcissist, whose ‘love' renders him hopelessly pathetic. Yet the perfectly cast Booth allows all of these facets of Werther's character to present themselves, whilst remaining endearing to the viewer. In fact, he's utterly charming. Paired with the restrained yearning of Alison Pill and the distant yet steady comfort that Adams provides – Lourenço provides us with a truly magnetic trio.
The romance itself has a childlike quality to it, accentuated by the positioning of it being unrequited; this feels like watching a teenage boy flirt with his crush. In one joyous scene, Werther declares to his best friend Paul (Jaouhar Ben Ayed), “we held hands Paul. While running. It is the most intimate thing one person could do.” Ironically, the declaration follows the sexiest moment in the film, in which Werther unzips Charlotte's dress using his teeth, and yet, in the philosophy and tone of the film, we do truly believe that the former act is the more personal. The film's brightly coloured costuming and vibrant pop soundtrack only add to its dizzyingly romantic effect. At times this childlike simplicity waters down the strength of the film, but for the most part, creates something that could easily become a comfort watch for many.
Given the direction that the source material heads in, there isn't a natural route from the light and quirky tone this rom-com sets. Instead of tragedy, Werther is given the chance to redeem himself for his selfish ways, and to create his own happy ending. It's trite and pithy, but in many ways, it's the only place it could go.
Though I've Never Wanted Anyone More is unlikely to revolutionise the genre, it's a worthy attempt at a tricky adaptation that provides laughs, smile and the occasional swoon, heavily aided by its winning cast.
I've Never Wanted Anyone More is available to rent or buy on digital platforms now.
