Based on the 1774 novel The Sorrows of Young Werther by Johann Wolfgang von Goethe, Young Werther follows the time-honoured tradition of modern-day cinematic adaptations of old texts. The film revolves around Werther (Douglas Booth), a young man from Montreal travelling into Toronto on family business to retrieve an heirloom from his aunt for his mother.
During his travels, our young Werther meets Charlotte (Alison Pill) on her birthday, striking up an easy-going connection that has Werther absolutely lovesick. But, alas, Werther discovers that Charlotte is betrothed to another — Albert (Patrick J. Adams), an ambitious lawyer. Undeterred, Werther ingratiates himself into Charlotte and Albert's life, including bonding with Charlotte's many siblings whom she assumed guardianship over after the untimely passing of their parents.
Young Werther's tale of unrequited love unravels itself to reveal a charming, tragic love story set against the Toronto skyline. Joining the relatively small contingent of films that actually use the city for the city, first-time director José Avelino Gilles Corbett Lourenço brings to life a trust-fund baby's version of Toronto to build Werther's one-sided fairytale, free of any bubblegum pop fever dream stylization (but idealized nonetheless).
The small ensemble deliver strong performances across the board that never venture into irritating or frustratingly illogical territory; they're empathetic, even at their most vulnerable. Adams shines particularly bright in a role that requires precision to hit the beats of a genuinely good guy who isn't merely a cuckold unaware of Werther's intentions. Adams's relaxed and affable demeanour, dry humour and subtle steely edge transform Albert from being the man in the way of star-crossed love to the one we root for to be better.
It's an obvious comparison, but it's one I can't shake (and I consider this to be the highest of compliments): Young Werther is like a 2020s Toronto version of 10 Things I Hate About You. And while the film may not find a 10 Things-like mass audience — especially outside our borders, for reasons beyond its control — it remains a movie that warrants our attention and hearts.