#1
Posted: 9/24/08 at 10:07pm
I am awestruck at its perfection. Utterly and unbelievably incredible. I am seldom a man of inflated language (ha!) but let me be so bold as to say this was equal-to experiencing it in-person. Truth.
RENT: Live from Broadway (film version of the Broadway show, culminated from final performances) is a piece of art. An accomplishment owned both to the extraordinary talents of the cast, musicians and spot-on camera-work and director of photography.
It only took a few minutes into the title song to realize THIS was it. The epitomizing example of what a live-performance captured on-film CAN and SHOULD look like. Never before have I seen anything like this.
BRAVO!
To get down to the nitty-gritty, it was all in the timing, exactness of shot, and video quality. This was clearly a high-definition capture both in visuals and audio. Aesthetically sublime. The Director of Photography did his research, because he knew EXACTLY what to have in-focus, in-frame for every beat.
Perfect blend of medium shots, stage-shots, extreme closeups. Extraneous on-stage action, "don't miss" moments, and the indescribable intimacy of LIVE performance. Just spell-binding.
While I did attend the 3rd-to-Last Broadway performance, I still hadn't yet had the opportunity to truly mourn the loss of RENT from New York City. Until tonight. This film is a bitter-sweet gift, in that it reminds us what kind of remarkable production this musical truly was. And a realization that it will be a far far cry to wish for something equal to it today.
Without sounding jaded (well, just read the thought of some of the actors in this week's Time Out New York), the age of raw artistry in Manhattan has died. Bohemia is not dead, but it is far more difficult to find without dollar-signs attached.
RENT brought music and light, life and disease, art and acting into an astounding spotlight. And all that's left now is the echoes in the Nederlander. And this film.
*******
Specifics of note:
- I saw it at UA Astoria Kaufman Theatres 9/24 at 7pm. There were 30 people in the theatre (Rodney Hicks among them)
- Perfect timing and focus during the almagamation of lyrics in Christmas Bells
- Perfect timing of Tom Collins getting beat-up
- Beautiful camera angles when Angel and Collins meet
- Close-up of Will Chase's tattoos and shiny teeth
- Renee Elise Goldsberry's tears in Goodbye Love
- Eden Espinosa flicking tongue on "la-la-la-love me" in Take Me Or Leave Me
- Justin Johnston's near break-down as he stepped out for Finale B (this had to have been footage from the final night)
- Exemplary filming angles during Contact (a few shots from behind the fence)
- Nice ambient audience applause and cheers
- Tracie Thoms' fierce eyes and hair. Tango Maureen and We're Okay are so spot-on
- Adam Kantor sounded very crisp and great focus. Hot young talent, people.
- Again, excellent timing of shots for Light My Candle
- Out Tonight was superb, desperate, shaky cam, quick-cuts
- Followed quickly by a well-edited Another Day
- Unabashed use of Nederlander's lighting design to capture unique silhouette shots
- Unafraid to get in your face for the right emotions
- We (as movie goers) at times got to see things as closely to the actor's perspective as possible... things that even after 100 live viewings, we'd never feel
- Great full-stage shot during Christmas Bells
- Tucking Adam Kantor in bottom-right-hand side of the movie screen a couple of times during spotlight dialogue
- Commitment of film to encapsulating many recognizable stage-pictures, and making new ones too
RENT: Live from Broadway (film version of the Broadway show, culminated from final performances) is a piece of art. An accomplishment owned both to the extraordinary talents of the cast, musicians and spot-on camera-work and director of photography.
It only took a few minutes into the title song to realize THIS was it. The epitomizing example of what a live-performance captured on-film CAN and SHOULD look like. Never before have I seen anything like this.
BRAVO!
To get down to the nitty-gritty, it was all in the timing, exactness of shot, and video quality. This was clearly a high-definition capture both in visuals and audio. Aesthetically sublime. The Director of Photography did his research, because he knew EXACTLY what to have in-focus, in-frame for every beat.
Perfect blend of medium shots, stage-shots, extreme closeups. Extraneous on-stage action, "don't miss" moments, and the indescribable intimacy of LIVE performance. Just spell-binding.
While I did attend the 3rd-to-Last Broadway performance, I still hadn't yet had the opportunity to truly mourn the loss of RENT from New York City. Until tonight. This film is a bitter-sweet gift, in that it reminds us what kind of remarkable production this musical truly was. And a realization that it will be a far far cry to wish for something equal to it today.
Without sounding jaded (well, just read the thought of some of the actors in this week's Time Out New York), the age of raw artistry in Manhattan has died. Bohemia is not dead, but it is far more difficult to find without dollar-signs attached.
RENT brought music and light, life and disease, art and acting into an astounding spotlight. And all that's left now is the echoes in the Nederlander. And this film.
*******
Specifics of note:
- I saw it at UA Astoria Kaufman Theatres 9/24 at 7pm. There were 30 people in the theatre (Rodney Hicks among them)
- Perfect timing and focus during the almagamation of lyrics in Christmas Bells
- Perfect timing of Tom Collins getting beat-up
- Beautiful camera angles when Angel and Collins meet
- Close-up of Will Chase's tattoos and shiny teeth
- Renee Elise Goldsberry's tears in Goodbye Love
- Eden Espinosa flicking tongue on "la-la-la-love me" in Take Me Or Leave Me
- Justin Johnston's near break-down as he stepped out for Finale B (this had to have been footage from the final night)
- Exemplary filming angles during Contact (a few shots from behind the fence)
- Nice ambient audience applause and cheers
- Tracie Thoms' fierce eyes and hair. Tango Maureen and We're Okay are so spot-on
- Adam Kantor sounded very crisp and great focus. Hot young talent, people.
- Again, excellent timing of shots for Light My Candle
- Out Tonight was superb, desperate, shaky cam, quick-cuts
- Followed quickly by a well-edited Another Day
- Unabashed use of Nederlander's lighting design to capture unique silhouette shots
- Unafraid to get in your face for the right emotions
- We (as movie goers) at times got to see things as closely to the actor's perspective as possible... things that even after 100 live viewings, we'd never feel
- Great full-stage shot during Christmas Bells
- Tucking Adam Kantor in bottom-right-hand side of the movie screen a couple of times during spotlight dialogue
- Commitment of film to encapsulating many recognizable stage-pictures, and making new ones too
Updated On: 9/24/08 at 10:07 PM