I've Never Wanted Anyone More: Goethe Adaptation Feels More American Pie Than High Literature

(MENAFN- The Conversation) José Lourenço's film adaptation of German author Johann Wolfgang von Goethe's epistolary novel The Sorrows of Young Werther opens with a line on screen stating it is“based on the smash hit 1774 novel of tragic romance”. Set in contemporary Canada, it revolves around Werther (Douglas Booth), who falls tragically in love with Charlotte (Alison Pill), who is already engaged to Albert (Patrick J. Adams).

Goethe's“smash hit” was written in a new literary landscape, where both readers and writers increasingly belonged to the growing middle class. It was one of the most influential works of the Sturm und Drang movement , also called Geniezeit (the age of genius), which cultivated individual emotion and expression, rejecting antiquated class structures in favour of an“aristocracy of feeling”.

The movement's interest in the individual's inner life was revolutionary at the time. Today, it has become an integral part of western ideology and culture, and is arguably part of the reason that romantic comedy is such a popular genre.

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In recent years, movie adaptations of early modern works have been made with a tongue-in-cheek style far removed from BBC adaptations of the 1990s. One notable example is Carrie Cracknell's 2022 adaptation of Jane Austen's Persuasion , where much of the original novel's tone was changed for a strong flavour of the television series Fleabag . But still, successful reworkings generally show a director's appreciation for the original.

Lourenço's comedy, however, strips away much of the complexity of Goethe's masterpiece. In I've Never Wanted Anyone More, the literary genius of The Sorrows of Young Werther is metamorphosed into tropes so contemporary that they already seem dated.

The jovial movie Werther is a trust-fund baby who loves gelato and bespoke tailoring. Instead of an artist, here he is an aspiring science-fiction writer. And although they share an enthusiasm for J.D. Salinger, the film's Werther and Charlotte generally find more joy in sample sales and smoking joints than poetry.

The film also has a bizarre penis fixation. Werther's confidant, Paul, has an obsession with semen, and his uncle repeatedly urges him to avoid condoms. In the moment of their greatest confrontation, Charlotte's fiancé Albert and Werther agree that linden trees (a passing reference to the ones the literary Werther is buried between) smell like semen.

Apparently, after a fistfight, this is all two romantic rivals have to talk about. As the seminal male bond prevails, I can't help feeling that the film would have been more credible without trying to be American Pie.

Beyond passion, Goethe's novel also depicts different social dilemmas. In the book, Werther leaves a promising bureaucratic career because he cannot overcome a sense of disgust at having to navigate social hierarchies with flattery and falseness. In fact, it often seems that it is this social order that he cannot survive, rather than his infatuation with Charlotte.

Unlike Werther, in the novel Charlotte can't give in to her feelings, because of the expectations of female modesty of the time as well as her duty to provide for her younger siblings by marrying the well-to-do Albert.

In the film version, Charlotte is despondent about how much of her own life she has had to sacrifice to care for her family. The film's exploration of this sacrifice, and her loneliness as Albert neglects her in favour of his work, shows the potential for a more nuanced characterisation of the heroine.

Unfortunately, I've Never Wanted Anyone More is typical of much contemporary screenwriting in its over-explanation of actions and desires, telling rather than showing.

Lourenço often appears inspired by Whit Stillman's deftly crafted romantic comedies. Love and Friendship (2016), Stillman's brilliantly funny adaptation of Jane Austen's novella Lady Susan, could be a model for any attempt to rework centuries-old prose. However, I've Never Wanted Anyone More lacks the light touch and meticulous writing that made that adaptation glimmer, exposing original genius alongside the new version's appeal.

Instead, the film turns both social analysis and tragedy into pat, moral lessons. The literary Werther's reluctance to partake in a society still ruled by arbitrary privilege is excised from the movie. After being chastised by a friend for being unhappy instead of recognising the advantages he already possesses, Werther instead helps Albert and Charlotte improve their marital relationship.

This therapy speak seems oddly in touch with contemporary pop psychology touting the benefits of gratitude. Instead of suicide, in the film Werther's despair is transmuted into an artistic breakthrough and an exultant trip to Berlin with Paul, as Charlotte and Albert settle into wedded bliss.

Touching on the novel's social critique would have made for a more complex and satisfying adaptation. It also has its own interest in times of increasing income disparity and the eradication of the middle class. Keeping more such characteristic marks could have made this reworking stand out among blander cinematic fare.

I've Never Wanted Anyone More's problem is that it cannot decide whether to be burlesque or emotional, whether it's adapting a novel or its Sparknotes summary. Again, differences between model and adaptation might not be a work's most important quality. But if the director wants to deviate so consistently, why choose a literary model at all?

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