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In any event, you needn’t have any fondness for “Rent” - though a little doesn’t hurt - to be taken with the affectionately cracked mirror that “Tick, Tick … Boom!” holds up to it.
Is andrew garfield gay in tik tik boom movie#
As a show, “Rent” proved nearly as divisive as it was popular: Maybe it enraptured you with its earnest, impassioned paean to art, love and East Village living, and maybe it struck you as a loathsome example of mass culture devouring the counterculture (“commodified faux bohemia on a platter,” as Carina Chocano put it in her Times review of the lousy 2005 movie adaptation). We are also caught up in something of a “Rent” origin story, which I hope doesn’t scare you off. (Miranda’s expert collaborators include the director of photography Alice Brooks the editors Myron Kerstein and Andrew Weisblum and the executive music producers Alex Lacamoire, Bill Sherman and Kurt Crowley.) But for most of the movie, we are bobbing alongside Jon in a New York playfully alive with the sound of his music and the rough-and-tumble spontaneity of Ryan Heffington’s choreography. It’s framed by scenes of Larson’s alter ego, Jon (Garfield), at the piano, performing on a stage with a band and two singers (Vanessa Hudgens and Joshua Henry), a device that typifies the movie’s fluid, unfussy blend of theatrical and cinematic forms.
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In pulling together elements from both stage versions of “Tick, Tick … Boom!” and from Larson’s entire body of work, Miranda and screenwriter Steven Levenson (“Dear Evan Hansen”) have made an inspired jumble, a surprisingly graceful Franken-Steinway of a movie. Twenty years later, it’s inspired the feature directing debut of Lin-Manuel Miranda, who played Larson in a 2014 revival and whose hardscrabble journey to musical-theater stardom bears some resemblance to Larson’s own. Years after Larson’s death, his 1990 semi-autobiographical one-man show, “Tick, Tick … Boom!” (originally titled “Boho Days”), spawned another tribute: The playwright David Auburn reworked it into a three-character piece that premiered off-Broadway in 2001. A “La Bohème”-inspired rock opera about starving artists, Manhattan real estate and the AIDS crisis became an improbable success story, a medium-redefining hit and a lasting tribute to its late creator. He’s still a few years away from writing his 1996 magnum opus, “Rent,” which means he’s also a few years away from his untimely death from an aortic aneurysm, just a day before “Rent’s” first preview performances. That’s Andrew Garfield as the musical-theater wunderkind Jonathan Larson - gifted, irrepressible, cash-strapped and a week shy of his 30th birthday. We’re in New York City in 1990, awash in cassette mixtapes and chunky Macintosh computers. Those jittery tick-tick noises punctuating the soundtrack are the sounds of a playwright racing the clock they’re also a reminder that every life has its own undisclosed deadline. '!' streams on Netflix November 19.And that’s only fitting, since “Tick, Tick … Boom!” itself concerns an epic case of writer’s block. We caught time with Garfield to discuss his character, the film, and his own struggle with the existential "ticking" ahead of the movie's release. Plagued by self-doubt, Larson becomes aware of a constant ticking…the sound of life passing by before the alarm finally tolls.
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Jon can't seem to find success as a composer, and with the days ticking by, his angst begins to take its toll on his relationship with girlfriend Susan (Alexandra Shipp) and gay bestie Michael (Robin de Jesús). He stars as Jonathan Larson in the film version of the stage musical '!' The movie streams on Netflix on November 19.ĭirected by Lin-Manuel Miranda, the movie follows the plight of future 'Rent' composer Larson (Garfield) on the eve of his 30th birthday. Now Garfield makes a bid for a new title: song and dance man. As the star of 'The Social Network,' two 'Spider-Man' films, and an Oscar nominee for his performance in 'Hacksaw Ridge,' the actor has become one of the most recognizable performers in the world.