A powerhouse trio of Hollywood stars has united for the cinematic adaptation of Colleen Hoover’s bestselling psychological thriller, “Verity.” Directed by Michael Showalter, the film brings together Anne Hathaway, Dakota Johnson, and Josh Hartnett in their first-ever collaboration, forming what Showalter describes as a “super group” cast. The highly anticipated project marks Hoover’s latest book-to-screen transition following the commercial success of “It Ends With Us,” which grossed over $350 million globally despite drawing attention for its behind-the-scenes legal disputes. But also became infamous for its off-screen legal battles, that film made over $350 million worldwide in theatres. None of the three leads had ever worked together before.
In this tense, atmospheric mystery, trust is a fleeting commodity. Hathaway portrays the title character, Verity, a massively successful novelist left paralyzed and mute following a car crash, whose hidden autobiography contains dark secrets. Johnson plays Lowen, a struggling writer hired to complete Verity’s remaining work. While residing in the family home, Lowen becomes obsessed with Verity’s life and her husband, played by Hartnett. Hartnett’s character appears to be a devoted, protective spouse, yet he raises suspicion early on, even suggesting Lowen wear his wife’s clothes for an evening out. As the plot unfolds, Lowen begins to suspect that Verity might be fabricating her medical condition entirely.
Despite the story’s grim themes, the actors often found humor in the psychological tension. “There would be some shots where Dakota and I would just have to stare at each other,” Hathaway shared, reflecting on the experience. “There’s just something about knowing that you’re supposed to be scary that makes you giggle.” Johnson also found joy in the darker elements of her character, stating, “It just seemed really fun to play somebody who’s deeply unwell.” The popcorn thriller leans heavily into its pulp roots, featuring dramatic sequences including a scene where Johnson blows vape smoke at Hathaway, and a surreal fantasy sequence that shifts from a kiss with Hartnett to one with Hathaway. And the actors often found themselves doing something that the script did not call for: Giggling.
For director Michael Showalter, “Verity” represents a long-held ambition to work within the thriller genre, tracing back to a high school class on Alfred Hitchcock. He drew inspiration from masterpieces like “Rebecca” and the works of Brian De Palma. This cinematic lineage shares a personal connection with Johnson, whose grandmother Tippi Hedren starred in Hitchcock’s “The Birds” and “Marnie,” and whose mother Melanie Griffith starred in De Palma’s Hitchcock-inspired thriller “Body Double.” Although Johnson noted she was not actively thinking of her family’s legacy while shooting, she later called the connection “inspiring in a way,” noting that it provided a sense of inherited bravery and understanding. Hitchcock, and Brian De Palma, were in his head when casting the movie too.
Hartnett, who appreciated Showalter’s focus on character-driven suspense, welcomed the unique acting challenge. “I’ve always been trying to play roles that are very different from each other and from myself,” Hartnett explained, noting that maturity has granted him more professional freedom to explore such complex figures.
Hathaway, who also served as a producer on the film, reunited with Showalter after their collaboration on the romantic drama “The Idea of You.” She brought bold artistic concepts to the production and was particularly drawn to a role that required long periods of stillness and silent staring after finishing several physically exhausting roles. The release of “Verity” caps off an intense professional period for Hathaway, who starred in and promoted five major films this year, including “Mother Mary,” “The Devil Wears Prada 2,” “The Odyssey,” and “The End of Oak Street.” Following this busy run and the upcoming birth of her third child, Hathaway plans to return to the screen alongside Tom Cruise in a sequel to “Days of Thunder.”
