Rent: 20th Anniversary 4K Ultra HD Blu-ray

Rent was an instant sensation when it premiered on Broadway in 1996, not only because a high-energy ensemble expertly performed its exhilarating, emotional score, but because it squarely addressed a number of topical, controversial themes that spoke to the current generation. Though inspired by Puccini's century-old opera La Bohème, Jonathan Larson's bold rock musical embeds itself in the here and now, immersing audiences in the contemporary culture of drugs, AIDS, poverty, and unbridled sexuality. Not since Hair a couple of decades before had Broadway been jolted by such a modern, up-to-the-minute production, and though time has slightly softened its radical feel, Rent remains a relevant, affecting work.

The film version of Rent honors its stage roots, but under the aegis of Chris Columbus, it loses the stark, edgy quality that first put it on the map. The director of Home Alone, Mrs. Doubtfire, and the first two Harry Potter movies seems loath to fully embrace the darkness pervading Larson's work, preferring to accentuate the positive instead. To be sure, the subject matter goes against Columbus' family-friendly grain, and the glossy, artificial air that often hovers over the film seems a direct result of his rosy influence.

Rent should be a cathartic, in-your-face experience, ripping us up before raising us up, but Columbus plays it safe, and the musical feels detached and distant as a result. The inherent power of the piece still prevails, but the bland vanilla coating dilutes its acidity and leaves us to wonder how a more serious-minded, realistic director like Martin Scorsese (whom producer Robert De Niro actively courted), Spike Lee (who once was attached to the project), or Sam Mendes (also rumored to be considered) would interpret and visualize the material.

Rent follows a tight-knit group of artistic friends eking out a hand-to-mouth existence on New York's Lower East Side in the late 1980s while confronting a multitude of personal and social problems. Mark (Anthony Rapp), an aspiring documentary filmmaker, and his reclusive, HIV-positive roommate Roger (Adam Pascal), a struggling musician and recovering junkie, live in a dank, dingy loft, where they entertain, counsel, console, bolster, and bond with an assortment of troubled yet sensitive pals. There's Mimi (Rosario Dawson), an HIV-positive, drug-addicted dancer in an S&M club, who becomes Roger's girlfriend; Tom Collins (Jesse L. Martin), an HIV-positive college professor; Tom's lover Angel (Wilson Jermaine Heredia), an HIV-positive street musician and drag queen; Maureen (Idina Menzel), a free-spirit performance artist and Mark's former girlfriend; and Joanne (Tracie Thoms), a feisty lawyer and Maureen's new lesbian lover.

Also dropping in now and then is Benny (Taye Diggs), who left the group to marry a wealthy suburbanite and is now the mouthpiece for the loft's greedy landlord, who demands the destitute tenants pay their rent or face eviction. Life as a starving artist no longer appeals to Benny, and his newfound financial security affords him a more realistic view of the Lower East Side, yet he still feels a connection to his friends and implores them to wake up and reexamine their lives. "This is Calcutta," he tells them. "Bohemia is dead." Mark and his gang, however, disagree, and fight to keep both their space and their lives intact.

La Bohème is without question a supreme romantic tragedy, but Rent - though far from cheerful - somehow puts a life-affirming spin on more depressing topics, and proves the power of love and devotion of friends can often transcend the pain and suffering of disease, prejudice, and misfortune. Making the most of each day may seem like a trite message for an important theatrical work, but in the face of dire, terminal forces like AIDS, such an idea becomes inspiring, especially when it's swathed in a series of potent, eloquent songs penned by a man whose own story eerily follows the theme. (More on that below.)

Larson's score gives Rent its pulse, and few pop musicals can match the driving rhythms, diverse styles, and expressive lyrics that distinguish it. Songs such as “I'll Cover You,” “Will I,” “Without You,” “What You Own,” “Light My Candle,” and the hard-rocking title tune crawl under the skin and resonate even more than the dramatic events. For sheer electricity and visceral impact, it's tough to beat Larson's stirring music.

Chemistry, of course, is crucial for an ensemble piece, and by importing all but two members of the original Broadway cast, Rent has it in spades. Dawson and Thoms are the newcomers, but they meld remarkably well with the show's seasoned pros. Both women possess powerhouse voices and strike just the right emotional note. As the central female lead, Dawson has the tougher job, but makes Mimi her own with a sensual and luminous portrayal. The rest of the cast masterfully recreates their roles, fueling them with a palpable, infectious energy that never wanes. Whether dancing on tables during the joyous “La Vie Bohème” or pondering how to "measure a year in the life" in the beautiful anthem “Seasons of Love,” Rapp, Pascal, Menzel, and company put their heart and soul into their performances.

Yet despite so many positive elements, the movie version of Rent just doesn't work for me. I love the score and the actors, but the film never gives me that swift kick in the gut I expect and crave. (If you want the original, authentic, theatrical Rent experience, I highly recommend you check out the Rent: Filmed Live on Broadway Blu-ray disc, which includes material that doesn’t appear in the film.) Larson's work brims with passion, but Columbus, intentionally or not, tempers it. By courting teenage girls and grandmothers, he turns a pot of boiling water down to a simmer, and as a result, his film warms instead of scalds us. The PG-13 rating kinda says it all. The movie version of Rent could have been the West Side Story of the new millennium - raw, real, raging - but instead it's just a typical Hollywood musical that happens to be set in the slums. And that's a shame.

Vital Disc Stats: The 4K Ultra HD Blu-ray
Rent arrives on 4K UHD packaged in a standard case inside a sleeve. A leaflet containing the code to access the Movies Anywhere digital copy is tucked inside the front cover. Video codec is 2160p/HEVC H.265 and default audio is Dolby Atmos (Dolby TrueHD 7.1 compatible). Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

The 2008 Blu-ray sported a "close to reference-quality" transfer, and this 2160p/HEVC H.265 rendering with Dolby Vision puts some icing on that cake. While it's not a knock-your-socks-off, wowza transfer, it's a very solid 4K UHD effort that's distinguished by crystal clarity, excellent contrast, and bold color. Film grain remains (and is quite pronounced in the clips of Mark's documentary), thankfully preserving the cinematic feel and gritty texture that's such an essential element of the piece. The picture exudes plenty of vibrancy, especially during daylight scenes and Mimi's solo at the Cat Scratch Club, and primaries pop, most notably the red in Angel's Santa Claus suit. All the hues are rich, blacks are dense, the bright whites never bloom, and flesh tones appear natural and remain stable throughout. Much of Rent takes place at night, and superior shadow delineation ensures no loss of detail. Razor-sharp close-ups showcase pores, stubble, blemishes, tears, and sweat, and no damage or fading afflicts the pristine source. If you're a Renthead, you'll definitely want to upgrade.

Sadly, the audio is a bit of a different story. The Rent soundtrack has been remastered in Dolby Atmos for this 20th Anniversary release, and though the results are quite good, they're not as spectacular as I would have liked. Much like Rent the film, Rent's soundtrack is a bit muted, lacking the soaring highs, weighty lows, harsh edges, and overall boldness that should be de rigueur for a musical that relies so heavily on screaming electric guitars and pulsating percussion. When you see a live performance of Rent, you feel like you're at a rock concert, but no matter how high you pump up the volume in your home theater, it's hard to recreate that environment with this disc. And it just shouldn't be that way.

The sound is pure, the fidelity is solid, but the track never really feels alive. As Peter Bracke wrote in his audio review of the 2008 Blu-ray, "Unfortunately, even the healthy boost of high-res audio can't overcome the film's anemic sound design when it comes to the surrounds. There just isn't enough activity in the rears to create any sense of sustained or even sporadic atmosphere. I kept leaning in, right as a new song was about to burst forth, waiting for the "wall of sound" to kick in, but was always left disappointed. It's a particular shame, because in all other respects, Rent sounds great."

The addition of Atmos doesn't enhance the experience either. There was only one instance when I could detect any overhead activity, and it was quite brief. Some nice stereo separation across the front channels slightly widens the soundscape, but as Bracke noted, the lack of rear channel involvement really dampens enthusiasm. A modern musical soundtrack shouldn't be front-based. I expect that from a 1940s MGM musical, not one produced a mere two decades ago.

On the plus side, the vocals are well prioritized so you can understand all of the song lyrics and appreciate the range, power, and emotion-packed tones of such accomplished singers as Pascal and Menzel. All the spoken dialogue is clear and comprehendible, and no distortion or surface noise mar the mix.

All the extras from the 2008 Blu-ray have been ported over to this 4K UHD release.

• Audio Commentary by director Chris Columbus and Selected Cast - This genial and occasionally amusing commentary by director Chris Columbus and actors Anthony Rapp and Adam Pascal kicks off the disc extras. Unfortunately, all three men sound relatively alike, so it's difficult at times to determine who's talking, but all make perceptive and interesting points. Columbus discusses how he fought to get Rent a PG-13 rating (a big blunder, in my view), and why he wanted the actors to speak instead of sing most of their dialogue (another mistake). He also attacks Roger Ebert's controversial flip-flop review of the film and addresses the positive and negative opinions of other critics. Rapp and Pascal chime in to talk about how the film differs from the stage play, point out various goofs, and relay anecdotes from the set. We also learn - for better or worse - about all the digital effects employed (such as inserting the Manhattan skyline into various shots), as well as the different locations that subbed for New York City (including the back lot at Warner Bros). Columbus blames the gentrification of the Lower East Side for limiting his ability to shoot in that area, but taking Rent away from its roots most definitely dulls its impact.
• Documentary: No Day But Today (HD, 109 minutes) - In many ways, the tragic story of Jonathan Larson is more dramatic and inspiring than Rent itself, and this feature-length documentary presents an in-depth portrait of this musical genius. Interviews with family, friends, colleagues, and Rent cast members illuminate Larson's endearingly quirky personality and the visionary talent that would spawn his masterwork. We hear about Larson’s Leave It to Beaver childhood, his Bohemian existence in a dumpy fifth-floor walkup, his first-hand experience with the AIDS epidemic, and how he wanted to "change the face" of musical theater by uniting MTV and Broadway. The most absorbing portion of the film details Rent's theatrical development, culminating with Larson's unexpected death at age 35 from an aortic aneurysm (due to Marfan's Syndrome) the night before the show's off-Broadway premiere. The documentary also looks at the Rent phenomenon and the multi-year struggle to bring the musical to the screen. Divided into six parts, which can be viewed individually or as a whole, the film runs a little long and relies too heavily on gushy testimonials, but nevertheless maintains interest and includes several moving moments.
• Deleted Scenes and Alternate Ending with optional commentary (HD, 12 minutes) - Fans of the Broadway show will especially appreciate these deleted scenes...even as they provoke rage. The cut dialogue scenes are negligible, but excising two important and emotional musical numbers, “Halloween” and “Goodbye Love,” is tantamount to treason. Both songs lend Mark's character a vital depth it otherwise lacks and make him at last seem like a participant in the proceedings instead of a bystander. “Goodbye Love” especially serves a vital purpose, beautifully setting up the dramatic final act while adding essential texture to Mark and Roger's relationship. Both men exquisitely perform the song, which also includes a dynamite coda by Dawson. Columbus justifies the cut by saying “Goodbye Love” infuses the film with "too much emotion," but that's exactly what everyone who goes to see Rent desires! He also notes how it seemed awkward for Roger and Mark to sing to each other at such a late stage in the film when they hadn't done so before - another ludicrous excuse and not really a correct one, because they do sing parts of the title song to each other as well as the coda of “What You Own.” By second-guessing audience reaction and dictating how we should feel, Columbus robs Rent of the subtleties and nuances that could have made it a great film. An alternate ending is also included, and I'm happy to report Columbus made the correct decision in abandoning it. The concept returns the characters to the theatrical stage where they open the movie and distances us from the world and events in which we've been immersed for more than two hours. We don't want to leave that world or forget those events so quickly, and thankfully screenwriter Stephen Chbosky convinced Columbus to revamp the ending.
• Public Service Announcements (HD, 7 minutes) - Two PSAs for the Jonathan Larson Performing Arts Foundation and the National Marfan Foundation are included.
• Theatrical Trailer (HD, 2 minutes) 

With its soaring score and fine performances, the movie version of Rent is slick and entertaining, but never delivers the profound, emotionally affecting experience we crave. Director Chris Columbus gives us a tantalizing taste of what the show is about, but if you want the whole meal, you'll have to track down the Rent: Filmed Live on Broadway Blu-ray. The 4K UHD transfer with Dolby Vision is vibrant, crisp, and worthy of an upgrade, but the Dolby Atmos track, like its Dolby TrueHD 7.1 counterpart on the 2008 Blu-ray, fails to maximize the format's capabilities. The audio is good, but not great, and a movie like Rent demands the best sonic quality. If you're new to Rent, this 20th Anniversary Ultra HD edition is recommended, but unless you're a diehard Renthead, I'm not sure this disc is worth the double dip.