Love with an unknown: How a play inspired many films around the globe

Falling in love is a complex and deeply personal experience influenced by many factors. It often has its roots in physical attraction, emotional connection, and shared thoughts. However, beyond physical attraction, emotional attachment plays a crucial role in the process of falling in love. Shared experiences, mutual interests, and similar personalities foster a sense of intimacy and closeness between two people. Love deepens through these connections. But before love can blossom, two people must come close to each other. Without any closeness, the seed of love does not grow. In fact, a foundation or medium is needed through which two hearts can connect and experience the factors that ultimately lead to love. But the question arises: do they need to be face to face for this? Yes, that can happen, but for emotional relationships to develop, we only need to be in contact with our beloved through some medium. After that, shared experiences and a meeting of minds develop. Letter writing is one such process through which many love stories have reached a happy conclusion.

In my school English book, there was a story written by G. Srinivas Rao titled "Penpal." At that time, while reading this story, I laughed at the idea that without seeing someone, let alone falling in love, even friendship could develop. At that time, I did not know that a Hungarian writer had written a very popular play on this theme, which inspired not one but three successful Hollywood films.

Miklos Laszlo (1903-1973) was born into a German Jewish family in Budapest. His family was in the entertainment business, so despite studying law, Miklos turned to his family trade and began his career as a playwright. "Illatszertár" was the play that brought him great success. First staged in Budapest in 1937, the play won people's hearts with its lovable characters, witty dialogue, and heartwarming story. The play explores themes such as love, loneliness, and the power of human relationships, which are universal themes. This is why the play has gained worldwide recognition.

The English equivalent of "Illatszertár" is "Parfumerie," meaning perfume shop. The story revolves around the employees of a perfume shop in Budapest in the early 20th century. Its central plot follows two employees, Amalia Balash and George Novak, who are infatuated with each other but unaware of their connection. They correspond as pen pals and grow closer through their letters, each unaware of the other's true identity.

The creation of this play was influenced by many cultural factors prevalent in Hungary and Europe in the early 20th century. It was a post-World War I Europe that was moving toward World War II, a time of significant cultural and social change. The economic turmoil that followed World War I affected people's lives as well as their artistic expression. Hungary was forging its national identity after the dissolution of the Austro-Hungarian Empire. The characters in "Parfumerie" grapple with questions of identity and belonging amidst a shifting social and political landscape.

Laszlo successfully blended Hungarian literary traditions with the European romantic comedy style of the time in "Parfumerie." As a social commentary, the play subtly addresses issues such as class distinctions and the effects of consumerism on personal relationships. By depicting everyday life while reflecting universal themes and experiences, the play resonates deeply with audiences.

Throughout the story, the characters struggle with feelings of loneliness, longing, and insecurity, which are exacerbated by their inability to communicate openly with one another. Amalia and Georg's letters serve as lifelines, allowing them to express their deepest desires and fears without fear of judgment. Each character brings emotional baggage to the story, adding layers of complexity to their relationships.

The theme of mistaken identity adds an intriguing psychological dimension to the story. As Amalia and Georg interact in person and through their letters, they must reconcile the discrepancy between their projected personalities and their true selves. This internal conflict catalyzes growth, pushing the characters to confront their fears and desires.

It didn't take long for this play to make the transition from stage to screen. In 1940, Ernst Lubitsch took the initiative to adapt it into a film titled "The Shop Around the Corner." In the film, the perfume shop from the play is transformed into a leather goods showroom.

Although this film was made in Hollywood, Lubitsch set it in Budapest. In fact, Lubitsch was drawn to adapting the play because his father, who was of German origin, had run a similar shop in Berlin. These childhood memories helped Lubitsch recreate the shop's atmosphere for the film. This is why the film retains a European feel, with characters who seem more Hungarian than American. As a result, this film remains the most faithful adaptation of the play.

The play was adapted again in 1949 as the film "In the Good Old Summertime." The European atmosphere that Lubitsch had infused into "The Shop Around the Corner" was completely Americanized in this version. The story's setting moved from Budapest to Chicago, and the leather showroom became a music store.

Director Robert Leonard turned the film into a musical, taking full advantage of the story's potential. One highlight of the film was the presence of slapstick comedy legend Buster Keaton. Keaton, famous for his expressionless comedic performances in silent films, had a speaking role here. A scene required a priceless violin to be broken humorously, and the director entrusted Keaton with choreographing it. Keaton designed the sequence so masterfully that Leonard felt no one else could have done it better. His execution of the scene, where he slips down the stairs while holding the violin, is remarkably natural. This film was a Hollywood adaptation with a new script inspired by the play's core premise.

The expressive nuances missing in "The Shop Around the Corner" were compensated for in "In the Good Old Summertime," primarily through its musical elements. Hollywood seemed to have exhausted its experiments with the play, as after the 1949 film, there were no further Hollywood adaptations for decades. However, with the rise of the Internet and email in the late 20th century, the play found new relevance. Director Nora Ephron revisited its core idea in "You've Got Mail" (1998).

Unlike the previous adaptations that closely followed the play, "You've Got Mail" reimagined the story in a modern setting. The characters, played by Meg Ryan and Tom Hanks, fall in love through email exchanges while being business rivals in real life. The film delves deeper into emotional themes, contrasting the digital age's anonymity with heartfelt connection. Notably, Kathleen Kelly, played by Meg Ryan, owns a children's bookstore named "The Shop Around the Corner," a direct homage to the 1940 film.

In India, the theme of love developing through letters found expression in Tamil director Agathiyan's 1996 film "Kaadhal Kottai." Starring Ajith Kumar and Devayani, the film explored a romance built on letter exchanges. It was a massive success and won National Film Awards for Best Director, Best Tamil Film, and Best Screenplay. Agathiyan later remade it in Hindi as "Sirf Tum," starring Sanjay Kapoor and Priya Gill. The film was also remade in Kannada and Bengali. Another film, "Muskaan" (2004), starring Aftab Shivdasani and Gracy Singh, explored a similar premise, but with phone calls replacing letters. More recently, "The Lunchbox" (2013), starring Irrfan Khan and Nimrat Kaur, showcased love blossoming through letter exchanges.

The essence of Miklos Laszlo's play lies in the transformation of a relationship through dialogue. Initially, the characters struggle in real life but fall in love through written communication. As the medium of communication changes, so does the storytelling style. In the future, perhaps this play will be adapted again, incorporating new forms of dialogue. The play beautifully portrays how love begins in an intangible form and gradually takes shape in reality.