Skip to main content

REVIEW: Dear Evan Hansen

 

Times are hard for lovers of the musical movie. Our selections are few and far between, leaving the genre always hanging in the balance, one or two flops away from dissolving into oblivion. So what do we do with a room-temperature helping like the film adaptation of Dear Evan Hansen? Not much, I'm afraid.

The movie follows anxiety-ridden Evan Hansen, a cripplingly timid high school senior who self-soothes with various rituals prescribed by his therapist (whom we curiously never see onscreen), like writing motivational letters to himself. One such letter is snatched by a troubled student, Connor Murphy, who commits suicide days later. When Connor's parents find the letter, they mistakingly assume their son had a secret friendship with Evan. Unwittingly, Evan becomes a window into the life of Connor, and Connor's family worships him for it. Feeling seen overwhelms Evan and in order to stay in the sun, he continues the charade, but soon the spotlight intensifies into something like a refining fire. At what cost will Evan cling to his performance?

Evan's long-standing fiction is ripe grounds for captivating drama. It's a point in Evan's favor that he seems motivated less by earning points with the kids at the popular table than by being embraced by the support team of Connor's family. 

    Just so, the plot is more buoyed by its potential than by its execution. We see the impact of Connor's death opening many wounds across many characters, but the film only tends to a select few of them. Zoe, Connor's sister and the apple of Evan's eye, feels conflicted over the death of a brother who tormented her in life. Swimming in that emotional maelstrom might have, I don't know, confronted the audience with some hard but beautiful truths about the complexities of mental health and family binds, but I honestly don't even remember how or if the film resolved that line. Maybe the stage show handled it better? 

    Director Stephen Chbosky seems to want to film this story like a traditional teen drama, like he did with The Perks of Being a Wallflower but with a few song numbers stitched in. Consequently, the film feels distinct from other musical films that traffic in song-and-dance more freely. 

    Some parts of this experiment actually work. It's a tender mercy that the singers can actually hold their own, a regrettable rarity in the modern musical world. (Special shoutout to the Murphy family, especially the always effervescent Amy Adams.) And still, the singing holds onto a certain spontaneity, like the music is coming naturally from the characters in real-time, not a prerecorded soundtrack. 

But more often than not, trying to feed both camps --angsty teen drama and inspirational musical extravaganza--leads to a conflict of interest. The overcast color palette doesn't exactly lend itself to the vivid emotional landscape the movie wants to paint or the fantastical whimsy that musical movies require. I suppose there's something to be said for trying to make a musical that visually reflects the dim headspace of a teenager wracked with anxiety. The resulting film would have certainly been boundary-breaking, but a feat like that requires more cleverness than compromise. This film only knows how to do the latter. 

There are a select few numbers that actually embrace some musical stylism (e.g. "Sincerely, Me"), and you'll remember them when wading through the film's seventeenth round of living room karaoke. (All the while, Ben Platt and his hyperactive eyebrows still think they're still performing live on stage.)

The movie's biggest punch isn't that it's actively bad, it just turns a juicy premise and songbook boring. Like an insecure high-schooler, the film just won't reach for the high notes. By sinking for so long in no man's land, the music peters out, and the end result is regrettably bland, bordering on insincere.

Oh, well. We still have In the Heights.

                --The Professor


Comments

Popular posts from this blog

"When Did Disney Get So Woke?!" pt. 1 The Disney of Your Childhood

  So, I’m going to put out a somewhat controversial idea here today: The Walt Disney Company has had a tremendous amount of influence in the pop culture landscape, both in recent times and across film history. Further controversy: a lot of people really resent Disney for this.  I’ve spent a greater part of this blog’s lifetime tracking this kind of thing. I have only a dozen or so pieces deconstructing the mechanics of these arguments and exposing how baseless these claims tend to be. This sort of thing is never that far from my mind. But my general thoughts on the stigmatization of the Disney fandom have taken a very specific turn in recent times against recent headlines.       The Walt Disney Company has had some rather embarrassing box office flops in the last two or three years, and a lot of voices have been eager to link Disney’s recent financial woes to certain choices. Specifically, this idea that Disney has all the sudden “gone woke.”  Now,...

"When Did Disney Get So Woke?!" pt. 2 Disney vs the 21st Century

  In the first half of this series , we looked at this construction of the Disney image that the company has sold itself on for several decades now. Walt himself saw the purpose of his entertainment enterprise as depiction a happier world than that which he and the audience emerged from, and that formed the basis of his formidable fanbase. But because the larger culture only knows how to discuss these things in the context of consumerism, a lot of intricacies get obscured in the conversation about The Walt Disney Company, its interaction with larger culture, and the people who happily participate in this fandom.  Basically, critics spent something like fifty years daring The Walt Disney Company to start being more proactive in how they participated in the multi-culture. And when Disney finally showed up in court to prove its case, the world just did not know what to do ... The 21st Century          With the development of the inter...

The Paradox of The Graduate

     If you've been following my writings for long, you might know that I'm really not a fan of American Beauty . I find its depiction of domestic America scathing, reductive, and, most of all, without insight. I don't regret having dedicated an entire essay to how squirmy the film is, or that it's still one of my best-performing pieces.       But maybe, one might say, I just don't like films that critique the American dream? Maybe I think that domestic suburbia is just beyond analysis or interrogation. To that I say ... I really like  The Graduate .      I find that film's observations both more on-point and more meaningful. I think it's got great performances and witty dialogue, and it strikes the balance between drama and comedy gracefully. And I'm not alone in my assessment. The Graduate was a smash hit when it was released in 1967, landing on five or six AFI Top 100 lists in the years since.      But what's int...

An Earnest Defense of Passengers

          Recall with me, if you will, the scene in Hollywood December 2016. We were less than a year away from #MeToo, and the internet was keenly aware of Hollywood’s suffocating influence on its females on and off screen but not yet sure what to do about it.       Enter Morten Tyldum’s film Passengers , a movie which, despite featuring the two hottest stars in Hollywood at the apex of their fame, was mangled by internet critics immediately after take-off. A key piece of Passengers ’ plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who prematurely awakens from a century-long hibernation and faces a lifetime of solitude adrift in outer space; rather than suffer through a life of loneliness, he eventually decides to deliberately awaken another passenger, Aurora Lane, condemning her to his same fate.    So this is obviously a film with a moral dilemma at its center. Morten Tyldum, direc...

REVIEW: The Long Walk

I suppose we owe some respect to the new film adaptation of The Long Walk . Based on one of the earliest novels by Stephen King, this sort of ancestor to The Hunger Games sees a group of boys, living in an authoritarian society. willingly entering an annual state-sponsored competition in which they all embark on a nationwide walk, all maintaining a consistent walking pace. If they fall below that, they get a bullet to the cranium. Last boy walking wins. Full credit, there aren't a lot of studio films that stitch together a solid piece of entertainment with such basic materials. There's minimal computer-generation and only a handful of actors, none of whom are really household names. (The obvious exception being Mark Hamill.) Much of the film is portrayed in relaxed long-takes that really let the actors' charisma shine. This movie proves that creative film language can be enough to turn a walk down the country road into a full-on warzone.  But the movie has a system error t...

Tangled: Disney Sees the Light

On November 21st, 2010, The LA Times ran its article “ Disney Animation is Closing the Book on Fairy Tales .” It pronounced that although the Walt Disney company was built on films in the style of Sleeping Beauty and The Little Mermaid , that form of Disney magic was history, reporting, iCarly (2007) “Among girls, princesses and the romanticized ideal they represent — revolving around finding the man of your dreams — have a limited shelf life. With the advent of ‘tween’ TV, the tiara-wearing ideal of femininity has been supplanted by new adolescent role models such as the Disney Channel’s Selena Gomez and Nickelodeon’s Miranda Cosgrove.” “You’ve got to go with the times,” MGA Chief Executive Isaac Larian said. “You can’t keep selling what the mothers and the fathers played with before. You’ve got to see life through their lens.”    Th e same day this article ran, the executives at Disney disavowed the viewpoints expressed and assured the public that Disney was NOT in fact s...

REVIEW: ONWARD

     The Walt Disney Company as a whole seems to be in constant danger of being overtaken by its own cannibalistic tendency--cashing in on the successes of their past hits at the expense of creating the kinds of stories that merited these reimaginings to begin with.       Pixar, coming fresh off a decade marked by a deluge of sequels, is certainly susceptible to this pattern as well. Though movies like Inside Out and Coco have helped breathe necessary life into the studio, audiences invested in the creative lifeblood of the studio should take note when an opportunity comes for either Disney or Pixar animation to flex their creative muscles.       This year we'll have three such opportunities between the two studios. [EDIT: Okay, maybe not. Thanks, Corona.] The first of these, ONWARD directed by Dan Scanlon, opens this weekend and paints a hopeful picture of a future where Pixar allows empathetic and novel storytelling to gui...

REVIEW: ELIO

    Here's a fact: the term "flying saucer" predates the term "UFO." The United States Air Force found the former description too limiting to describe the variety of potential aerial phenomena that might arise when discussing the possibility of life beyond earth.      There may have to be a similar expansion of vocabulary within the alien lexicon with Pixar's latest film, Elio , turning the idea of an alien abduction into every kid's dream come true.      The titular Elio is a displaced kid who recently moved in with his aunt after his parents died. She doesn't seem to understand him any better than his peers do. He can't imagine a place on planet earth where he feels he fits in. What's a kid to do except send a distress cry out into the great, big void of outer space?      But m iracle of miracles: his cries into the universe are heard, and a band of benevolent aliens adopt him into their "communiverse" as the honorary ambassador o...

Do You Hear the People Sing?: "Les Miserables" and the Untrained Singer

          Perhaps no film genre is as neglected in the 21 st century as the musical. With rare exception, the o nly offerings we get are the occasional Disney film, the occasional remake of a Disney film, and adaptations of Broadway stage shows. When we are graced with a proper musical film, the demand is high among musical fans for optimum musical performance, and when a musical film doesn’t deliver this, these fans are unforgiving.  From the moment talking was introduced in cinema, the musical film has been a gathering place where vocal demigods assemble in kaleidoscopic dance numbers in a whirl of cinematic ecstasy too fantastical for this world. What motivation, then, could Tom Hooper possibly have for tethering this landmark of modern musical fandom in grounded, dirty reality?       This movie’s claim to fame is the use of completely live-singing, detailed in this featurette, something no previous movie musical had attempted to...

REVIEW: Concrete Cowboy

"Concrete Cowboy" has Stranger Things alum Caleb McLaughlin saddle up with Idris Elba in a father-and-son tale set against the backdrop of urbanization. McLaughin stars in the film as "Cole," a troubled teen whose escapades into trouble have him teetering on the edge of a life of aimless ruin. In an act of desperation, Cole's mother drops him off in Philadelphia at the apartment of his father (played by Elba) whom he hasn't seen in years. It's a drastic change of scene for Cole, but there's a chance for him to make something of himself here. If he can avoid the toxic influence of Smush, a local kid with dubious ties to local gang activity.  The premise sounds intriguing enough, but the finished product is so textureless that even after actually watching the film, you somehow don't feel you've learned anything more about it. The movie relies a lot on the audience bringing their own preconceptions to the table. Opening with a shot of Cole looki...