The Broadway pedigree of ‘Dear Evan Hansen’ is lost in translation.
Despite its Broadway pedigree, “Dear Evan Hansen” arrives on screens with an inherent tension:
can the film’s music and cast, lead by Ben Platt in a Tony-winning performance, transcend the unsettling premise and problematic protagonist?
Despite adjustments that appear to make deliberately to try to soften such edges, the answer is no.
Although one might think that an award-winning musical wouldn’t raise such worries, the story’s nature — about a mistake that turns into a lie, which begins with intentions but gets progressively brutal as it progresses — won’t be for everyone.
While there are a few lovely songs by Benj Pasek and Justin Paul (“La La Land” and “The Greatest Showman”).
they feel like a little price to pay for witnessing this slow-motion train accident unfold.
At its foundation, the novel conveys important messages about grieving and mental health, as well as, perhaps most importantly.
how individuals frequently respond to catastrophe by making the aftermath all about them.
In this example, that tendency turns an ostracised high-school boy who was ignoring into a cause and crusade after his death.
Even still, what resonates with audience members in the theatre is disseminate through the medium of film.
Despite attempts to solve some of these flaws, such as changing the finale, adding new songs to enhance particular characters, and removing old ones, the focus remains solidly on Platt’s Evan.
who fills in gaps in his tumultuous life at the expense of everyone else.
“I wish anything I said mattered to anyone,”.
Evan grumbles early on, writing letters to himself as a therapist-prescribed activity that doesn’t assist in any way.
However, Connor (Colton Ryan) snatches one of the letters and also signs the cast on Evan’s arm.
When Connor commits suicide, his parents (Amy Adams and Danny Pino) believe the “Dear Evan Hansen”.
the message they discovered suggests a friendship they were unaware of.
In the film adaptation of the musical ‘Dear Evan Hansen,’ Ben Platt plays the role of Evan Hansen.
Evan goes along with it and then proceeds to embellish the falsehood.
The deceit — and self-delusion — works for a while, healing those who are grieving while changing Evan from a friendless outcast into an object of sympathy at first, and eventually boosting his status, in a manner reminiscent of “The Music Man.”
Even the seemingly ideal girl (Amandla Stenberg) admits to having concerns about herself.
while Evan now has an excuse to spend time with Connor’s sister Zoe (“Unbelievable’s” Kaitlyn Dever, possibly the finest thing in the movie), whom he has never had the nerve to speak to previously.
Evan’s new existence, on the other hand, is construct on a shaky foundation.
Working with writer Steven Levenson’s script, director Stephen Chbosky (“The Perks of Being a Wallflower”) extracts as much misery as he can, but the plot feels like it’s spinning its wheels at times.
With the exception of Platt’s version of “You Will find,” Evan’s school-assembly speech, an anthem that goes viral and reaches others struggling in the same way that Connor was.
the film lacks many show-stopping numbers in a year thick on musicals.
What the film fails to do well is let the audience sympathize with Evan.
who finds relationships he lake through Connor’s family at the risk of losing his own.
his single mother (Julianne Moore), and classmates who invest in his intricate story.
Some of the early criticism has felt like nitpicking (sure, older actors play high school pupils), but the underlying issues are more difficult to ignore.
It’s also difficult not to compare this adaptation to Apple TV+’s filmed rendition of “Come From Away,” another 2017 Tony.
candidate, which retains its impact in a manner that this film does not.
On the plus side, anyone who wanted to see “Dear Evan Hansen” on stage with the original star now has the opportunity.
Despite the fact that the film communicates something important, a lot appears to have been lost in translation for a show billed as a “generation-defining Broadway phenomenon.”