In the film adaptation of the musical Rent, bohemian cynicism of
post-modern ideologies about economic development
and traditional
American values clash with the realities of poverty, addiction,
disease, and disenfranchisement. Benny is in a fight with Maureen
over his plan to build Cyberland; which would allow him to use the
neighborhood to create films, though it would also disrupt the
artists’
chaotic lives as well as displace hundreds of homeless individuals who
would have no other place to go. The film is a continuation of
the same commentary about New York’s artistic community in the same
vein as Fame and Hair. The grime and urban decay is well worth
being able to live how you want to, on your own terms, and being free
from the commercialism that has infected middle America.
Rent has everything from a fresh look at alternative lifestyles, to
heroin addicts, a stripper, and an amateur filmmaker chronicling HIV
patients finding peace as they struggle to deal with the existential
changes in their life. But does it really cover new ground or it
just a grittier look at life on the East Side? Rent doesn’t
romanticize it’s protagonists; Benny had the same ambitions as the
artists he is
fighting against at one time, yet simply gave that
lifestyle up for the trappings of corporate America, Maureen, while
fighting the good fight, is a manipulative individual who wants to be
accepted for her shortcomings, but can her lover overlook her previous
indiscretions and move forward with their life together?
This film does not offer any quick solutions or answers to life’s
problems, but does a great job at portraying them to us. It does
not hurt that its excellent music score eases the transition between
scenes in the process.