Robinne Lee, author of the novel The Idea of You, recently opened up about her dissatisfaction with the film adaptation’s ending. The movie, starring Anne Hathaway and Nicholas Galitzine, diverges significantly from her original conclusion.
Speaking in an interview, Lee elaborated on the stark contrasts between the book and its cinematic counterpart. The novel’s ending, she pointed out, carries a depth and realism that she felt was lost onscreen. She said, I wanted this book to feel French to me. I wanted a French ending. I wanted the person to leave the theater and be like, ‘Whoa! We have to discuss this!’
Michael Showalter, who directed the adaptation, had a different vision. He explained in an exclusive interview with RadioTimes.com that he aimed for an uplifting finish. For this story, we felt like a more uplifting ending was what would be most satisfying for our audience
, he shared. This clearly differed from Lee’s preference for a more introspective and thought-provoking conclusion.
Aside from the tonal shift, there were also notable changes in character dynamics and backgrounds. For instance, the film aged up Nicholas Galitzine’s character, Hayes Campbell, from 20 to 24 years old—a decision intended to avoid discomfort among viewers that might arise from the original age gap in our contemporary culture.
Nicholas Galitzine himself highlighted how the boy band in the movie was a mix of many influences: We took tons of different references.I think the boy band as a whole was an amalgam of a lot of different artists and groups.
The romance between Solène (Hathaway) and Hayes provides a fresh look at aging and sexuality. Anne Hathaway’s portrayal attracted positive attention not only for its charm but also for addressing deeper societal topics.
Cathy Schulman, the producer who worked on translating the book’s essence to screen, mentioned the inherent challenges in book-to-film adaptations. It’s always challenging and ‘nerve-wracking’ to adapt a novel for the screen, especially one that has that sort of audience frenzy behind it.
Critics had mixed reactions to this change in direction. One praised how Showalter’s take made it more commercially viable: This movie is less about eliciting deep introspection and more about offering feel-good escapism.
However, some avid readers preferred Lee’s nuanced narrative.
This entire discussion around endings brings us back to broader themes—what captivates audiences today? Are they seeking reflection or escapism? As debates continue, one thing remains clear: both renditions have sparked meaningful conversations on relationships, aging, and societal expectations.
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