‘Me Before You’: How to Build a YA Movie That Rules

Me Before You trailer
Courtesy of Warner Bros.

Me Before You” arrived in theaters on Friday with a dash of pedigree — it’s based on a novel by Jojo Moyes, whose romantic fiction for adults has been garlanded with praise — but let’s be clear: The film’s central characters may be 26 and 31 years old, but at heart this is another squeaky-clean YA tearjerker built around a princess too good for words, another saintly love story submerged in youthful doom. In “Me Before You,” two impossibly good-looking people drift into a slow-burn romance, but the love is haunted by tragedy, the kind only love can conquer. You light up my life! The movie seems to be scrubbed of sex, but it delivers — and inspires — one bodily fluid with bountiful abandon, and that is tears. It’s a formula that goes back to “Love Story” (or maybe “Anna Karenina,” though Tolstoy wasn’t quite so intent on leaving you with that feel-good feeling). “Me Before You” is undeniably a piece of product, yet it doesn’t create the usual icky aftertaste. It’s sweetly restrained about manipulating the hell out of you. And that’s because it has several things going for it that the recent spate of YA romantic tearjerkers with macabre underpinnings (“The Fault in Our Stars,” “If I Stay”) do not. What’s the difference? Here are a handful of reasons why both teenagers and adults can watch “Me Before You” without hating themselves in the morning.

No fault whatsoever in our stars. “We had faces!” said Gloria Swanson in “Sunset Boulevard,” referring to the glory days of early Hollywood, when actors beamed out at you from the silver screen with larger-than-life features. These days, some of the prettiest young actors leave no imprint, as if they’d been genetically modified (their beauty isn’t creased by inner conflict), but in “Me Before You,” Emilia Clarke and Sam Claflin have faces that stay with you, because they’re alive with expression. Clarke, from “Game of Thrones,” plays Louisa “Lou” Clark, an angelic free spirit whose wardrobe suggests Sandra Dee trying to go thrift-ship punk (she favors garishly loud mohair sweaters, madly patterned mini-skirts, and polka-dot high-heeled Mary Janes). But for all the fireworks of her clothing, it’s from the neck up that she bedazzles. Clarke has one of those smiles that’s so lush and ripe you want to pluck it off a tree, and her eyes are playful dark saucers, but it’s her eyebrows that give a performance of their own. They wriggle and bend, they shoot up into her forehead and dance, they create a full-on flirtation with the audience.

It’s no wonder that Lou hooks Will Traynor, a sexy-soulful athlete-daredevil financial broker…who has been left a quadriplegic after a motorcycle slammed into him. She’s hired to be his caretaker, and it’s not long before those eyebrows melt right through his irascible torment. We can tell because Sam Claflin, whose Finnick Odair was one of the best things in the “Hunger Games” series, spends the first third of the movie in scraggly hair and a beard, which dampens his appeal far more than Will’s being in a wheelchair, but then he gets cleaned up, and Claflin, his complex of dimples now revealed, isn’t just killer handsome. In “Me Before You,” his grin, with its slight touch of a smirk — that hint of restrained abashment — creates an unmistakable echo of Hugh Grant’s. Forget the story: The movie convinces you why these two people just want to go on looking at each other.

There will always be an England for movies like this one. Does YA product look classier with posh accents and Continental settings? Of course it does! Call it “Brief Encounter” syndrome. Will is a very wealthy dude, and not because he did so well on his job. He comes from money. He has burrowed, in his wisecracking despair, into a sprawling apartment tucked inside his family estate, which looks like a larger version of Bruce Wayne’s mansion. It gazes out through the mist over a castle, which is a really major castle, the kind you’d have to scale…and yes, it’s their castle. So Lou has found her Prince Charming. If this level of wealth were presented so flagrantly in an American setting, it would almost have to look corrupt. But in “Me Before You,” the luxuriousness of Will’s existence is always, somehow, in the background. And that’s because, as English family money that has been there for generations, we can accept it, in some “Fifty Shades of Jane Austen” way, as wealth that is not, by virtue of its existence, oppressing anyone else. Besides, the money can hardly compensate for everything that Will has lost. He can’t move any part of his body from the neck down, and that makes this the rare tycoon fantasy that inspires us to feel, “Who needs it?”

The other quintessential British element in “Me Before You” is the spikiness of the dialogue between the “chatty” Lou and the gloomily witty Will. Moyes gives good stiff-upper-lip repartee. When Will and Lou finally go out on a date (to hear a Mozart oboe concerto!), she wears a dress of sexiest scarlet, and as the two are getting ready to say goodnight, he confesses, with that perfect tone of bittersweet Hugh Grantian rue, “I don’t want to go in yet. I just want to be a man who’s been to a concert with a girl in a red dress.” That line, translated from the British, means: “You’re breaking my heart, because I love you and I will never stop never stopping.”

Far from a soft cop-out, the movie’s plot has a real edge. We’ve been engineered, through many decades of movies like this one, to expect the story of a hunk in a wheelchair to go a certain way. The saintly Lou isn’t just taking care of Will, or falling for him; she’s trying, quite consciously, to inspire him to embrace life again. And since Claflin makes Will a broken man with a powerful life force inside him, we can see where this is heading…except that it isn’t. Will is so in thrall to the life he used to have that he can neither abide nor accept his present state. He wants to go to Switzerland to die by assisted suicide. Ten years ago, it would have been unthinkable for a Hollywood youth romance to feature this not just as a story hook, but as a justified desire. But times change, and so do heartthrob movie heroes. In “Me Before You,” the audience wants Lou to save Will, to show him that life is worth living, but the originality of the movie is that it makes an absolute case that Will’s desire to stop living is an expression of his life force. He loves life too much to carry on in this compromised state. If he can’t make love to Lou, what’s the point of loving her?

I personally think that if the end of the movie had lingered, a little more explicitly, on Will’s final moments, “Me Before You” could have added $25 million to its total domestic box-office tally. Yet the film has already done better than expected, and for good reason: It’s a YA movie that has a touch of class to go along with its heart.

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  1. game says:

    The advice is very fascinating

  2. game says:

    Great internet site! It looks really expert! Keep up the great work!

  3. Ben says:

    You are mislabeling the movie as YA.
    These actors and characters are much to old.

  4. iloveme2007 says:

    Anyone who is disappointed in the end of the movie has apparently not read the book. The movie and the book have the same ending. I think the book was quite popular, so I wonder why there seems to be so many protests about it now. I don’t understand why this is referred to as YA in the article.

  5. Ss says:

    Still confused why you think this is YA. The book is not marketed as YA nor do the characters ages imply teen. Crossover? Sure. But not a YA movie or book.

  6. Anon says:

    Sam Claflin is soooo handsome!! Thats all I wanted to say lol :D

  7. So… a celibate life isn’t worth living? Downright odd. I can’t give you this, so I’ll give you my fortune. Couldn’t you just do that without the “suicide is beautiful” nonsense? The review is well written, and these two have quite a future ahead of them – but I don’t like what the film has done.

    I honestly appreciate the non-conventional approach, but not if we’re adopting new conventions that are simply worse than the classical ones. When suicide is depicted in film, I don’t want anyone feeling anything beautiful. Think “Dead Poets Society” or what was almost in “Royal Tenenbaums.” Yes, it’s a part of our world, but it’s far from beautiful.

  8. Shandy says:

    [Spoiler alert]
    I don’t believe this story was written to encourage anybody to commit suicide. It’s the choice of a character who, it seems, essentially became a prisoner of his own body and wished to escape it. The author didn’t recommend that all disabled people make the same choice, or suggest that they all want to/feel the same way.

  9. Chares says:

    My heart breaks. There is something very tragic about this movie. It feels to me that we are telling others who have suffered accidents that they should kill themselves. Just terrible…terribly sad.

  10. Marco Piazzo says:

    1) This is not a YA movie by a long shot.
    2) This movie has the same problem as ‘Seven Pounds’ which had its main character fall into this trope (and he wasn’t disabled), aka


    The ‘suicide as beautiful sacrifice’ ending. Suicide isn’t shameful, it’s tragic, and sad, and an escape for some, but one thing it is NOT is sacrifice.

    In some ways, it’s even WORSE than ‘Seven Pounds’, because
    1) the character who makes that choice isn’t the main character, but pretty much a major plot point for the main character
    2) The character who makes that choice is a quadriplegic, who in movies have never, apparently, been shown as anything other than suicidal (was My Left Foot the only one?)
    3) The apparent motivations that the book at least adduced (constant pain, for one) are gone
    4) The main character actually ends up enriched both metaphorically and literally by the death of the quadriplegic character, with the horrible ‘Will’ pun.

    • EricJ says:

      Seven Pounds wasn’t in the “Love in the hospital” genre, it was Will Smith’s ego alternating every action movie with one Oscar-bait drama where he’s a messianic martyr of the streets looking to restore some soulfulness to the world.
      One pan review joked about “The weird stalker guy living alone in his apartment, who collects fish”, which only played up how ridiculous Smith’s pretentious self-image of his character was.

      Me may not be a YA novel, but it definitely has a YA -cult- for girls at that age who want to choose their own dreamy theatrical end (either by “noble sacrifice” or “bravely fighting disease”) rather than face a lot more years they can’t predict.

  11. LOL says:

    Guys, this film is the latest addition to a subgenera of Disabled/ Ill Disease Drama Porn. It fetishises ill health in the services of female wish fulfilment.

    The notion of a handsomely gorgeous young man with wealth who is reduced to nothing — and subsequently, cared for by an affectedly dorky pretty girl that doesn’t know how to dress, but gets the man’s attention because of her kindness — is many a girls’ dream come true. The fact that he’s disabled means that he cannot run away from her either and will be forever beholden to her love and care. He belongs to her forever.

    It sounds sweet in a messed up kind of way. Young women have odd thoughts about stuff like this.

    • agressively redundant says:

      And then he dies and gives the girl a great deal of money. No more work for her, all due to some rich guy dying. How delightful…

  12. EricJ says:

    The wheelchair community (ahem, like ME) have not been happy over the movie’s romanticizing of suicide for the handicapped–
    Even though, yes, “Macabre underpinnings” and facing life under doomed terminal conditions, making a girl’s dream out of adolescent fatalism, seems to be the next new trend: Teen crossbows are out, teen bucket-lists are in.
    If they still want to make a third Maze Runner movie, maybe the Runners should develop a terminal illness.

    • Geri McCall-Barrath says:

      Thanks for ruining the movie with your first sentence.

      • EricJ says:

        Didn’t say whether or not he did, just that it’s the main hero’s dreamy character identification that he’s considering it. YOU just spoiled it by identifying it one way or the other.

      • agressively redundant says:

        The problem is that the film can barely be discussed without that spoiler. It’s the moment of the film that really gets people talking.

  13. irwinator1992 says:

    Very well said. I just saw the film yesterday and it was really good.

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