CS: I do think that this was unfortunately sort of a case where everything that could go wrong did go wrong. I think that almost every sort of big-adaptation-choice this movie makes is sort of fundamentally flawed. But if I had to point to some of the biggest ones — onstage, one of the coolest premises of Dear Evan Hansen is that you're seeing these sort of everyday suburban teenage problems, really heightened to big musical theater, abstract operatic proportions.
But the movie, the way they choose to film it, it's much more in the tone of like a grounded indie character drama. So it's a lot of people just sort of like standing and sitting in living rooms. And I sort of think without that visceral live quality, the messiness of the plot and the story just become way more apparent. Like it's harder to sort of just get swept up in the emotion of it all. And sort of adding to that, I think, is the way the movie, I think, over-thought how to present Ben Platt as a teenager. He was about 27 when they filmed and he lost a bunch of weight for the role. He grew out his hair. He sort of has all these anxious mannerisms, and this hunched posture. And I think he seems to be wearing quite a lot of makeup to sort of make his skin look younger. All of these choices that I think only make him, in fact, look far older than he looks in real life. And sort of, you know, this is a show or a movie that really hinges on its leading man just being so young and immature and anxious that you just really feel for him even when he's in the wrong. But you have Ben Platt giving kind of an off-putting performance. It's just hard to connect to, even in the way that I think so many people did when Platt played the role onstage.