I agree with this, of course. The measure of a great film [or play etc] (and no, I am not arguing the point of whether this one is or not) is in its universality and resonance, not in how referential it is. The former is why Hamlet can be understood by school children in ways that escape their parents. Knowing "too much" about TTB means we can enjoy our associations with it. But it also invites us to be distracted by nuances. We see this on this board every effing day.
I finally saw it. This was also my first exposure to Tick Tick Boom beyond "30/90"
I thought it was sweet but not satisfying? And anti climactic. It's going to seem like I'm about to be really critical of it-but that also doesn't mean I thought it was garbage. I'm grateful it exists.
I think it's so tough in how do you adapt the element of Jonathan dying respectfully and not in a navel gazing way. I felt like what they did was so rushed and you didn't get the real impact of-
this is an artist who finally hit his big break, only to tragically suddenly die and not be able to experience the success of it in any form.
And of course there's a pulpy oscar batey way to showcase that and maybe it was the better option that they didn't. The same way Spielberg didn't show the actual Lincoln assassination happen in his film about Lincoln.
But the concept of combining Jonathan's Tick Tick Boom with essentially a mini Jonathan Larson biopic that doesn't even touch the arc of the creation of Rent- I dunno, it just made me want another 45 minutes of the movie focused on him finding his stride with Rent.
I also think the relationship with his girlfriend-it just didn't work for me. It felt so pedestrian in how it was portrayed and I just didn't get a sense of a deeper pathos with it. I got what they were going for with "Come to Your Senses" which I do think is a decent song, but I still didn't feel invested in THEM.
I also think they didn't know fully what to do with Robin's HIV storyline. I just felt like...we were left to feel bad for him but the film didn't invest that heavily in following what's gonna happen with him past Jonathan's perspective. It ended up feeling more emotionally manipulative and using Robin for Jonathan's arc.
Without question the best moment is "Sunday" what a beautiful direction and homage to Steve (that Bernie moment made me tear up immediately) I think if anything lingers from this movie it will be that sequence.
I'm genuinely so happy this worked so well for a lot of people. A lot of it was really charming as was Andrew. I love the idea of Netflix adapting more obscure musicals into movies that big Hollywood studios won't gamble on.
And I definitely could see how on repeat viewings enjoying it more.
rattleNwoolypenguin said: "But the concept of combining Jonathan's Tick Tick Boom with essentially a mini Jonathan Larson biopic that doesn't even touch the arc of the creation of Rent- I dunno, it just made me want another 45 minutes of the movie focused on him finding his stride with Rent."
I 100% thought he was going to start playing Seasons of Love when he sat down at the piano on the Delacorte stage.
Wow! Just watch this on Netflix. I am not a fan of Lin's at all, I winced when I saw his cameo and I immediately googled the rap. That said, wow. This is a great little movie. Lin has done a fantastic job blending the original source material and JL's story. I remember seeing Tick, Tick, Boom with Joey McIntyre ages ago, while the show didn't work for me, the songs are so great. I was excited to hear "Green, Green, Dress' but SUPER impressed with Lin's tasteful approach in leaving it mostly out. This movie got so much right, I looked up "boo boo" to double check it was being used in the '90s (it was!).
Garfield can really sing, so refreshing to see autotune left out. Again, I cringed at Lin's cameo, but all was forgiven when I saw who came into MoonDance. So impressed with the restraint and taste in making this film.
rattleNwoolypenguin said: "I finally saw it. This was also my first exposure to Tick Tick Boom beyond "30/90"
I thought it was sweet but not satisfying? And anti climactic. It's going to seem like I'm about to be really critical of it-but that also doesn't mean I thought it was garbage. I'm grateful it exists.
I think it's so tough in how do you adapt the element of Jonathan dying respectfully and not in a navel gazing way. I felt like what they did was so rushed and you didn't get the real impact of-
this is an artist who finally hit his big break, only to tragically suddenly die and not be able to experience the success of it in any form.
And of course there's a pulpy oscar batey way to showcase that and maybe it was the better option that they didn't. The same way Spielberg didn't show the actual Lincoln assassination happen in his film about Lincoln.
But the concept of combining Jonathan's Tick Tick Boom with essentially a mini Jonathan Larson biopic that doesn't even touch the arc of the creation of Rent- I dunno, it just made me want another 45 minutes of the movie focused on him finding his stride with Rent.
I also think the relationship with his girlfriend-it just didn't work for me. It felt so pedestrian in how it was portrayed and I just didn't get a sense of a deeper pathos with it. I got what they were going for with "Come to Your Senses" which I do think is a decent song, but I still didn't feel invested in THEM.
I also think they didn't know fully what to do with Robin's HIV storyline. I just felt like...we were left to feel bad for him but the film didn't invest that heavily in following what's gonna happen with him past Jonathan's perspective. It ended up feeling more emotionally manipulative and using Robin for Jonathan's arc.
Without question the best moment is "Sunday" what a beautiful direction and homage to Steve (that Bernie moment made me tear up immediately) I think if anything lingers from this movie it will be that sequence.
I'm genuinely so happy this worked so well for a lot of people. A lot of it was really charming as was Andrew. I love the idea of Netflix adapting more obscure musicals into movies that big Hollywood studios won't gamble on.
And I definitely could see how on repeat viewings enjoying it more.
I agree with some of your critiques and have written about some things I didn’t think worked, including the relationship with Susan. And I understand why many people would want to see more specific references to Rent, his posthumous success.
But I think the film works better without it. As it is, Larson is shown observing some of things that went into Rent - sometimes more effectively than Rent itself did. Boho Days sure sounds like a song from Rent, only Andrew Garfield as Larson is more likeable and sympathetic. (That song is ridiculously catchy.) The movie tells us he wrote a game changing musical that debuted after his death. So we know he’s an important artist. What we see is his struggle, and what compels him to keep trying.
There’s poignance in that, but director Lin-Manuel Miranda and writer Steven Levenson avoid the temptation to wallow in sentiment or literalism. The movie takes advantage of the fact that it’s not a straight adaptation of the stage musical, the original rock monologue, or a biopic. It’s a hybrid, and Garfield’s terrific performance makes it all work.
You might like it more on second viewing, or not. Everyone’s mileage will vary, and what seemed to me to be minor flaws might be a bigger problem for others. I just got a lot of enjoyment out of it, a lot more than I was expecting. I am not arguing it’s a classic movie musical, but it was awfully satisfying to me.
I'm clearly in the minority as far as this site goes but man did I find this movie to be literally unwatchable. Turned it off about 15 minutes in. Andrew Garfield was dreadful -- all that mugging and eye rolling and grimacing and over acting. I could not conceivably have watched that for two hours. I baled at the point where Robin de Jesus was dancing around his apartment and Garfield was all "Wow, you mean if you actually work you can make money to buy nice places to live?" What a revelation.
I have no patience for thirty year olds who don't want to get jobs, which is why I find Rent to be insufferable now even though I was caught up in the hysteria at the time of its Broadway premier.
EvanstonDad said: "Garfield was all "Wow, you mean if you actually work you can make money to buy nice places to live?" What a revelation.
I have no patience for thirty year olds who don't want to get jobs, which is why I find Rent to be insufferable now even though I was caught up in the hysteria at the time of its Broadway premier."
Eh… Your reaction is your reaction, but Garfield does have a job throughout the film.
Having “a job” - even a significantly better paying one than a waiter at a diner - isn’t enough to buy a nice place to live, especially nowadays and especially in a place like NYC.
The film has just received a Producers Guild of America Award nomination for Best Picture. Not to mention that screenwriter Steven Levenson has also just received a Writers Guild of America Award nomination for Best Adapted Screenplay.
It did very well in the flood of awards out Thursday. There seems to be a decent chance Tick…Tick…BOOM! may get a Best Picture nomination after all. (This would probably improve Andrew Garfield’s chances for Best Actor a bit, although I still don’t think he will win.)
I don’t know why I care about this, but the film worked for me and I think both musicals getting end-of-year awards were quite good.
Lin also just received a nomination from the Directors Guild of America for Outstanding Directorial Achievement of a First-Time Feature Film Director for 2021.