| The
Review: |
What makes Rent unique is that it
was the first Broadway production that put the lights on AIDS
and HIV. It is also the second show that openly depicted gay,
lesbian, bisexual, and transgender (GLBT) issues on the main
stage in New York, since the Broadway musical La Cage aux
Folles in 1983. A decade after its opening, Rent received
its cinematic treatment. It kept most of its original cast
members from the stage, which helped bring about the same
feel from the stage. However, it does not possess the same
uniqueness in the cinematic realm, as film has openly portrayed
gay issues over the last 15 years through terrific films such
as Maurice (1987), Philadelphia (1993), Bound (1996), Boys
Don’t Cry (1999), and most recently Brokeback Mountain (2005).
In addition, films such as the disturbing cult New York film
Kids (1995) and the television film And the Band Played On
(1993) handled the issue of HIV and AIDS even before the premiere
of the stage musical. Despite its lack of cinematic rareness,
Rent still helps shed some important light on HIV/AIDS and
GLBT issues, and does so through much music and song. ***
In the shadow of AIDS and HIV the
audience gets to experience a musical with roots in Puccini’s
opera La bohème, which is set in the Alphabet City of New
York City. It is a location where artists and others with
non-traditional life philosophies sought refuge including
myriads of poverty stricken people. Alphabet City also suffered
from drugs and violent crimes during the 1980s, which is when
Rent takes place and follows the fate of eight friends and
lovers. The social setting is almost more important than the
characters in the film, as the atmosphere in which they live
heavily colors their political, social, economical perspective
on life. ***
The opening shot with the eight
main characters on a stage allows the audience to draw that
it is a stage musical moved to a set, as they sing the Seasons
of Love. Abruptly, the imagery moves from the countdown to
one of filmmaker Mark Cohen’s (Anthony Rapp) 8mm films that
show the gritty and poor part of New York that many want to
escape. Instead, Mark embraces it by showing it to the audience,
which helps set the tone of the film. ***
Amidst the New York chaos, one
character after another appears through song, as we get to
know them as friends such as Mark’s roommate Roger Davis (Adam
Pascal). He is musician struggling with coming up with the
perfect song while constantly remaining in a glum state pondering
the past and his acquisition of AIDS through a dirty drug
needle. They have a friend Tom Collins (Jesse L, Martin),
a gay non-tenured NYU college professor with AIDS, who often
stays with them at their place. Mark and Roger also have a
former friend, Benjamin Coffin III (Taye Diggs) whom they
now loathe, as he has become their landlord while imposing
rules and rent on them, as he sold them out by joining the
aristocratic society. Simultaneously, Mark suffers from a
broken heart, as his girlfriend Maureen (Idina Menzel) has
left him for the IVY-League graduate Joanne (Tracie Thoms).
Last, but certainly not least, Angel (Wilson Jermaine Heredia),
a flamboyant transvestite, suffers from AIDS, but also expresses
a strong affectionate love for Tom Collins that he reciprocates.
Together these eight characters go through a year of emotional
ups and downs cornered by sadness, disappointments, and death
which ultimately regains itself like bird Phoenix out of the
ashes by spreading its wings of love. ***
The musical aspect attempts to
carry a triumphantly poignant celebration of love and mutually
painful struggle in the shadow of death and illness. However,
it is not always so easy on the ear, as it aurally provides
some cinematic gracelessness. Much of the awkwardness emerges
in the story line driven by its overwhelming song and lyrics,
as the audience almost never gets a chance to breath or contemplate
the importance of each piece between the musical numbers.
In addition, in some instances the lyrics sound awkward through
their gawky rhyming. Besides the musical portion, the audience
will also lose interest in the characters, as the film self-indulgently
begins to entertain itself in the revolutionary undertones
that displays by “sticking it to the man.” In a story where
people’s emotions are essential, as a viewer I almost felt
cheated, because the psychological aspects of the characters
were never fully portrayed in the way film only can provide.
Instead, the film leans too heavily on the music, as if it
exclusively would bring about the emotional moments in the
film, which makes it feel that the director Columbus never
elevated the stage musical to what cinema could help create.
In the end, Rent provides a superficially intriguing musical,
but never reaches the accomplishments of other contemporary
film musicals such as Moulin Rouge! (2001) and Chicago (2002),
or even close to the many musicals from the 1950s and 60s.
*** ---
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