Hopefully, the millions of readers who got hooked, first to tablets or computers, later to the four physical books, on paper, edited, to this erotic-romantic booklet for young girls feel a bit of curiosity and practice a flashback for literary classics such as Wuthering Heights. However, there, in his passionate, feverish and full-bodied sex pages was already the model of After's Hardin, the immortal Heathcliff.
Of course, comparing a character like Heathcliff with Hardin's stupid and toxic character is like trying to do it between a teenage melodrama and nonsense as is the jump to the big screen of this teenage phenomenon for girls, wet dreams misunderstood, it's honestly pathetic.
In After the problem is not only that it tells a story already told a thousand times - the good and innocent girl who lives her sexual awakening with the bad and rebellious boy, and the obstacles that the couple encounters along the way - but that it also bores, it is a thymus, it gloats in its common places and it is poorly acted.
The only interesting thing about this product for preteens is its origin. It all started at Wattpad, a literary platform where users share their own material and receive reactions from other users. The platform presents as a hook the possibility that the most popular texts will be published on paper and come scripts for film or television adaptations. After would become a case witness of success.
Its author, Anna Todd, began writing this tetralogy at age 24: as Fifty Shades of Gray, her novels are framed in the muddy universe of fanfiction. Todd mounted the rage on One Direction and imagined one of the members of the youth group, Harry Styles, as the protagonist of her story, and the other four as secondary characters. And she hit it her books are a sales phenomenon that four years ago they even took to book fairs in Latin American Countries.
For legal reasons, in the movie, the names were modified. Harry Styles is now Hardin Scott, but he keeps the bad boy's cliches: he dresses in black, rides in an old black sports car, is cynical, ironic and slightly abusive. But this tortured romantic hero is hard on the outside and soft on the inside. The girl, on the other hand, is all the contrary: naive, innocent, outdated.
Both are character cartoons of two of the novels to which explicit mention is made, Sense and Sensibility or Wuthering Heights. After is a copy of high literature that is not enough to counteract its banality and insubstantiality.
Lacking any hint of cinematic interest, even when its director seems to take the sexual outburst of the novels and she captures it with a, quite funny, simulated the aesthetic images of Andrew Blake's ninety porns After is pure premenstrual onanism older than nocturnal pollution.