I’ve always known that Rent is a modern classic in the world of musicals. It’s Jonathan Larson’s masterpiece, and it’s a masterful rock opera. However, for a long time, it didn’t click with me, personally. Now, as new films premiere on the 2025 movie schedule, Rent is celebrating its 20th anniversary, so I decided to give it another watch.
I’m thrilled to report that this time around, my opinion about this movie has changed, and I loved it so much more this time.
The First Time I Watched Rent, I Had A Hard Time Following It And Wasn’t Into The Music
Netflix subscription like it is now. Now, the movie made by Lin-Manuel Miranda has been out for years, and I’ve been obsessed with it and its music since it premiered, which gave me a newfound appreciation for Rent.
For those who don’t know, Tick, Tick…Boom is the autobiographical musical by Jonathan Larson that came before Rent. The movie adaptation, which is one of Andrew Garfield’s best, fully opens the door into the writer’s life and tells the story of his quest to write a brilliant musical while making basically no money and living in New York City.
So, this musical gave me a deep insight into Larson’s work and life, and it highlighted how he got to Rent. That, and knowing that he died the day Rent opened on Broadway, added a level of vital meaning and power to this 2005 film.
Along with that, the music of Tick, Tick…Boom clicked with me. The rock tunes used to show Jonathan’s journey perfectly captured everything he was going through, and the soundtrack, which scored the best musical of 2021, was one of my top-played albums of the year.
So, going into Rent, I had a better knowledge of and affinity for Larson’s music. Tick, Tick…Boom doesn’t have as much music as Rent, so watching that was almost like training wheels, preparing me to re-watch the 2005 rock opera with a new appreciation.
So, I was primed and ready with an entirely new understanding and love for the mastermind behind Rent as I rewatched the film adaptation.
LGBTQ+ representation in film could be significantly better; though, we’ve made significant positive steps forward in the last 20 years. However, Rent served as a beacon of light and representation as it told multiple moving stories about people who identify as LGBTQ+ that were both deeply tragic as well as beautiful and celebratory.
Idina Menzel’s work, and seeing her in the role of Maureen, which came toward the start of her career, was wonderful. Plus, I’m pretty sure “Take Me or Leave Me” is one of the greatest showtunes, and hearing her belt it with Tracie Thoms – who didn’t play Joanne in the first Broadway production, but did portray her on stage – blew me away.
Jesse L. Martin’s performance as Tom also really stood out to me this time. He originated his role on Broadway, and so did Wilson Jermaine Heredia, who plays Angel. That history mixed with their chemistry made me love Tom and Angel’s story even more.
However, hands down, the place where this Broadway history made the biggest difference for me was in Anthony Rapp and Adam Pascal’s performances as Mark and Roger, respectively. The first time I watched Rent, I knew these guys were in the Broadway production; however, I didn’t know they were still so close today. Watching them on screen this time, I felt that true friendship they share, and that mixed with their perfect harmonies, made for a duo I loved seeing on screen.
I’m at a place in my life and my understanding of Rent and its origins that I deeply wish I could have seen it during its long Broadway run. However, sadly, I can’t. Luckily, we have this movie, and each time I see it, I find more to love about it. This time, I had a newfound appreciation and knowledge about it and Jonathan Larson’s history that deeply moved me, and that mixed with a relevant and important story played out by a stellar cast made for a viewing experience that I didn’t get the first time around.