‘Rent’ should be evicted from theaters

By Lacey Korevec

Transforming a musical that still fills theaters nearly 10 years after its Broadway debut into a movie seems like an idea that cannot fail. But Rent-lovers beware. It can.

Though the thought of finally seeing Rent on the big screen is exciting for those who love the music and experience of the original show, the film version is not nearly as entertaining as one would expect and is a great disappointment to original fans who can imagine how spectacular a cinematic rendition could have been had it been done right.

The film stays somewhat true to the original, written by Jonathan Larson, with certain scenes added and nearly the whole first half of Act Two omitted. It focuses on a group of friends, barely surviving in New York City, many of whom suffer from AIDS. Aside from dealing with the destruction of the deadly virus, which slowly takes its toll on the group, the characters face the effects of big business taking over their building and threatening to send them out onto the streets. Camera man Marc Cohen (Anthony Rapp) and AIDS-infected songwriter Roger (Adam Pascal) are at the forefront of the drama, among a colorful cast of characters.

The big screen fails to do this complex storyline justice. Awkward shots and curious camera angles distract viewers, leaving them confused by some of the unconventional and poorly thought-out, decisions made by director Chris Columbus. One of the very first shots, for example, is a dead-center, extreme close-up of Marc’s face as he rides his bicycle through the city streets, dramatically singing the song “Rent,” as his short hair blows in the wind. This cheesy shot lasts entirely too long and serves as the first of a number of awful choices.

Other scenes are ruined by poor acting at its worst, provided, surprisingly, by many of the original cast members from the Broadway show. Pascal gives a heartless performance, devoid of expression. Unfortunately, he is not alone. The film’s best actors deliver mediocre performances, and its worst are simply an embarrassment.

One of the only scenes that seems to meet its potential is when the full company sings “La Vie Boheme,” while dancing on a tabletop in a crowded restaurant. This part works well and, possibly because much of the original choreography is included, finally comes somewhat close to displaying the wild energy the stage version possesses. It is only a shame the rest of the film is not as well-done.

Rent is loved by theatergoers for a reason. It carries a powerful carpe diem message and is a raw portrayal of regular people and real problems that plague contemporary society. It manages to be both funny and heartbreaking simultaneously. But, sadly, even those who know this may not be able to recognize any of the original stage magic in the on-screen version.