
RENT (WIDESCREEN)
10 of 17 people found this review helpful.
I saw the movie in a beautiful theater in downtown San Francisco on the Saturday after Thanksgiving and was surprised to find so few people in the movie theater--maybe 75 of us, and the theater could have fit 500. I wonder if some of the lukewarm reviews haven't influenced people's decisions to go to RENT. Hope not, for I'm here to tell you, this movie is dynamite and IMHO much, much better than the play. For one thing, in the movie you can hear every word, even with the increased rock instrumentation, for hundreds of sound experts have worked their magic and made sure that even people underwater could hear every single syllable; whereas on stage, it depended from night to night what percentage of the lyrics were going to be coming across the temperamental sound system of the Nederlander (NYC).
I did miss Daphne Rubin-Vega who was incomparably sexy and chilling as Mimi, but I never believed her being in love, and Rosario Dawson looked like she was just 'playing' at being bad and underneath she was ready to fall in love as soon as she saw Roger through the window. Her scenes of addiction are captured in the movie effectively, in a rpaid montage that might disconcert some rentheads but will, I think, be easily understood by those new to the show.
Yes, some of the actors looked older than 20 somethings. But we forget that most of those who died of AIDS in the 1989-90 period were actually in their 30s. What's the big deal? To me, Angel's fate is all the more sad because he seemed to be healthy for so long and then, all of a sudden, well, any more would bring me into spoiler territory.
Idina Menzel is not as over the top as she is on stage, but there's still plenty of fire power there, and she's bigger than anything in the movies since the heyday of Betty Hutton! She looks remarkably beautiful and she doesn't miss a trick; and just when you think she'll overshadow Tracie Thoms as her attorney girlfriend, Joanne, the latter pulls off some memorable comic business and signals her disappointment and regret with her expressive brown eyes. Anthony Rapp is charming as Mark Cohen, he comes off as a tiny terror, I wonder how tall he is, the constant scenes of him snarking down the streets with his fists clenched in anger at his sides, but no one else around to reveal his true proportions--the old Alan Ladd trick. And Adam Pascal is suave and tormented in equal measures as Roger. His eyelashes are so long I expected them to have a special spotlights in the credits, but no.
These sentiments are vapid and, in the daylight, seem a little silly, but the beauty and power of the movie is to convince you of their truth. Good work all around. I hope the movie's an enormous success.
Review ID: 10000000000741114

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