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Availability:
Only 1 left in stock, order soon!
Arrives
Tuesday, Feb 24
Format: DVD May 15, 2007
Description
Single disc version.
Genre: Gay & Lesbian, Musicals & Performing Arts/Musicals/General
Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, Multiple Formats, NTSC, Subtitled, Widescreen
Contributor: Adam Pascal, Anthony Rapp, Chris Columbus, Darryl Chan, Idina Menzel, Jesse L. Martin, Jonathan Larson, Julia Roth, Porscha Radcliffe, Rosario Dawson, Stephen Chbosky, Stephen Payne, Taye Diggs, Tracie Thoms, Wilson Jermaine Heredia See more
Language: English
Runtime: 2 hours and 15 minutes
Aspect Ratio : 2.401
Is Discontinued By Manufacturer : No
MPAA rating : PG-13 (Parents Strongly Cautioned)
Product Dimensions : 7.75 x 5.75 x 0.53 inches; 2.4 ounces
Item model number : CTR17998DVD
Director : Chris Columbus
Media Format : AC-3, Closed-captioned, Color, Dolby, Dubbed, Multiple Formats, NTSC, Subtitled, Widescreen
Run time : 2 hours and 15 minutes
Release date : May 15, 2007
Actors : Adam Pascal, Anthony Rapp, Rosario Dawson, Taye Diggs, Wilson Jermaine Heredia
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Top Amazon Reviews
Bought this to replace a missing DVD, no defects, plays without any issues
Reviewed in the United States on November 26, 2025 by M.L. Briggs
To say after watching the movie version of "Rent" that I like the musical more than the movie is a strange comment to make because I have not (yet) seen the award-winning show on stage (ironically, the touring company has been next door in Wisconsin this week, but driving eight hours to see it tonight seems like a big much even to me). But I know that I like the music more than the characters and fully admit that the fault is in my self more than in Jonathan Larson's creations; I just cannot relate to the people in that time and place the way so many Rentheads have and in my defense will point out I did not relate to the original Bohemians in Puccini's opera either. I swear that Roger (Adam Pascal) looks like Moebius the Living-Vampire from Marvel comics and I cannot get past that idea. I should be able to identify with would-be filmmaker Mark Cohen (Anthony Rapp), but I like his ability to tango more than his cinematic style. Mimi (Rosario Dawson) is sexy, but dying, and Joanee (Tracie Thoms) and Maureen (Idina Menzel) cannot wholly commit to the idea that opposites attract. As for Benjamin (Taye Diggs), the dude is definitely slumming. The characters that I really care about are Tom (Jesse L. Martin) and Angel (Wilson Jermaine Heredia) because I think they represent the brain and heart of this group of friends, and even when logic dictates that this movie should be rated at 4.5 at best, I think of that final shot in the film of Angel and I have to round up become of its poignancy. Even with the alternative ending, the smile on Tom's face when Angel walks by and holds his hand for a minute is almost as transcendent. Turning some of the songs into dialogue so it is not wall-to-wall singing was not necessary from my perspective. I am perfectly willing to listen to musicals or operas that are music and all singing from start to finish, with or without recitatives. In fact, I think that what is so appealing about the music in "Rent" are the harmonies, not only of the voices as amply demonstrated by "Seasons of Love," but also between the voices and the music. Ultimately, there is a sense that the emotions matter more than the words. Is "La Boheme" any less effective because most of us do not know precisely what they are singing? After all, one of the most famous arias in the opera is Colline saying goodbye to his coat. When "Life Support," "Will I" and "Another Day" combine at the end to make up "Finale B," the lyrics are rather simplistic, but the emotional effect is transcendent, even compared to something like the sextet from "Lucia di Lammermoor." In other words, the sound and fury signify a lot in "Rent," and if in the end it all comes down to love, then that is not exactly a bad thing. Plus, with the six voices at the end (eight if you do the alternative version), I think most of us can find a vocal part to sing along with well within our comfort range, not that it stops us from switching parts and trying to be more ambitious. Larson also provides an impressive range of types of songs, so every couple of songs something in a style you really like comes along. Having been listening to the soundtrack pretty much nonstop since I sent the DVDs back, I have to say that I like it more than the original cast recording. Of course, six of the original cast are here, so I should point out that not only do I think that those six have brought a decade's worth of experiencing singing these songs to their performances but that the two newbies add something to the mix. Martin's "Santa Fe" and reprise of "I'll Cover You" evidence more depth, and one of the my favorite vocal moments is in "Goodbye Love" when Dawson and Thoms blend voices and power through, "I'd be happy to die for a taste of what Angel had, someone to live for, unafraid to say I love you." The biggest heresy would be that I like the way "Finale B" is played straight for the emotional impact of Mimi's revival instead of the mock deus ex machina that I hear in the (off) Broadway album. Again, I realize that those who have seen the musical can hold the exact opposite position and I fully appreciate that seeing the show live, especially songs like "Over the Moon," is something different from this film. Beyond that, producer Rob Cavallo, known for his work with Green Day, did a great job of updating the sound for the 21st century. As for director Chris Columbus, it taking this particular musical to the streets he did not make it to the sacred heights of "West Side Story," but I think "Rent" works a lot better than the likes of "Hair" and "Godspell." The bottom line is that my affection for this movie is based more on the ear connected to the heart than the eye linked to the analytical half of my brain, and I will just leave it at that.
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Reviewed in the United States on February 26, 2006 by Lawrance Bernabo
An amazing movie
Reviewed in the United States on November 30, 2025 by Amia
Perfect musical! All of the actors were great!
Reviewed in the United States on December 8, 2025 by Nobody Pete
Rent is a musical that hits hard emotionally, and Rosario Dawson absolutely shines in her role as Mimi. Her performance is raw, passionate, and completely captivating—she brings depth and vulnerability to the character while delivering high-energy musical numbers with ease. The film itself is a powerful tribute to love, loss, and living with purpose. The cast chemistry is phenomenal, the music is iconic, and the themes still resonate today. Dawson’s charisma and talent stand out, making her a perfect fit for such an emotionally demanding role. If you love musicals with heart, unforgettable songs, and standout performances, Rent is a must-watch
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Reviewed in the United States on June 19, 2025 by Mr. Banks
I absolutely love this movie can always re watch and never gets old
Reviewed in the United States on September 18, 2025 by Samantha Powell
I am a self-proclaimed lover of musical theatre. And although I own almost every major Broadway and Off-Broadway soundtrack, and have seen most of the classics at least once or twice, I somehow let Rent slip through the cracks. Not, by any means, because I never heard of it, but, rather, because I made the all too often fatal mistake of listening to the musical theatre elitists who turn their nose up at anything that wasn't written by Stephen Sondheim. Sure, I heard the story: an update of La Boehme that replaces Mimi with a stripper and the plague with AIDS. I also heard of the untimely death of the young composer, and even bought into the urban legend that he died of AIDS (which could not be further from the truth). But, somehow, I took a pass on the show, the soundtrack, and the whole sordid affair. The "rentheads" just seemed far too giddy for me to believe that they were actually worshipping something of value. Boy was I wrong. When the movie came out, I was tempted to go see it, but I took yet another pass, for all the same reasons. But the DVD was convenient enough for me to give it a spin. And what a spin it was. As a piece of musical theatre, Rent is not without its issues - all of which have been stated very eloquently before. The plot is a little weak and the lyrics could have used a little refining. But THE MUSIC! Oh, that music! I was bowled over from the first half minute. Jonathan Larson was far from a musical genius - which is exactly why the music is so incredibly good. Combining simple, memorable melodies with incredible multi-part harmonies, the notes sing to you all by themselves. I was left wondering where this play had been all my life. But this is not intended to be a review of the show itself. What I am here to do today is review the DVD. And I made you sit through the long introduction above because it is very relevant to what I am about to write. Like most any other operatic musical, it is very hard to translate to film without it feelng like you are watching a studio version of the play itself. The magic of the theatre is lost on film, and most musicals are very difficult to adapt without a whopping serving of cheese. Jesus Christ Superstar, Godspell, Hair, Evita, Phantom Of The Opera, and a slew of others have all suffered from the same fate. And, I'm afraid to say that Rent joins the pack of musicals that just didn't quite translate. Many an ambitious Director have tried. And the only one who has ever succeded, in my opinion, is Rob Marshall with Chicago. How? By filming it like an old style Hollywood musical with an updated modern feel, instead of trying to set the stage version to film. Chris Columbus, who directed Rent, chose to go the other route - adapting the stage show to a series of elaborate sets and unimaginable backgrounds which try to imitate reality, and might have suceeded were it not for all of the frolicking and singing going on. And that's where the conflict lies. Modern Hollywood movies show unrealistic things happening in realistic settings. Stage musicals show realistic things happening in unrealistic settings. So the only way to translate them properly is to do as Chicago did and as the old-style Hollywood musicals did; don't try to be too real. Well, Chris Columbus, with his roots in 1980's New York City, missed that entire point and tried too hard to make it all real for us. And, in so doing, he, in my opinion, failed. But that's not the only way in which Mr. Columbus failed us. In watching the movie, I had a unique perspective because I had absolutely no previous exposure to the story. And, unfortunately, were it not for the music, I might never have felt any emotion at all because the movie never gives us any emotional attachment to any of the characters. I won't go into plot lines here, but I can tell you that nothing held together. The relationships were just never established. And then I watched the excellent Special Features disc which included all of the cut scenes. And, all of a sudden, everything came together. After watching only 4 of the deleted scenes, I was suddenly able to feel the entire movie. Mark explains his internal struggles, Mimi explains her attachment to Roger, Roger and Mark explain their attachment to one another, and Benny explains his relationship with Mimi. And, with that, you can suddenly understand and relate to the rest of the movie in an entirely different way. Then I made the mistake of turning the Director commentary on during those cut scenes, and I was all the more infuriated to listen in on Chris Columbus flip-flopping back and forth as to whether or not the scenes actually should have been cut. It was like listening to a child trying to justify himself into a position which he knew he should never have taken. This was most evident during his description of the alternate ending in which the actors return to the same stage on which they began, to sing the finale in the same setting where they sang the introduction. This was the only 'theatrical' moment of the entire movie where he actually put the actors on stage where they belong. Tying the ending to the beginning in this way might just have made everything else seem like somebody else's re-telling of their story, or as a part of Mark's film - which could have actually worked. But, instead he decided to cut it because, as he put it, it was too far the beginning and he didn't think the audience would remember it enough to tie the two together. Never underestimate us, Chris. It all left me a little angry, to tell you the truth. But I was also left feeling fortunate to have seen this movie for the first time on DVD so that I could also see these cut scenes and benefit from the composer's original vision - one which made much more sense than that of Chris Columbus. So it may sound like I'm bashing the Director here, and, in reality, I'm probably not cutting him enough slack. Because I think his intentions were probably good. The problem, as far as I could see it, is that he knew the story too well. So it held together far better for him than for someone like me who had never seen or heard the story before. But there was also a lot that he did right. The decision to use 6 out of 8 of the original cast members, for one. The chemistry, vocal chops, and dramatic timing of Anthony Rapp, Adam Pascal, Idina Menzel, Taye Diggs, Wilson Jermaine Heredia, and Jesse L. Martin are spectacular and work perfectly together. And the seemless introductions of Rosario Dawson and Tracie Thoms are equally impressive. The music and accompanying arrangements sound modern, fresh, and well produced, and the blocking, camera work, and timing are all beyond compare. So, although he got a lot of it wrong, he does deserve due credit for getting a lot of things very, very right. But the real star of this show is still the Special Features disc and, more appropriately stated, the composer, Jonathan Larson. The accompanying cut scenes are a necessity so I won't give the DVD too much credit for including them, but the 2-hour documentary entitled No Day But Today is a gem that could have demanded the entire price of the DVD all by itself. In it, we learn about the life of Jonathan Larson, the humble, eccentric, and, yes, very straight composer of Rent. Not that being straight is relevant to anything other than the fact that there is an eerie and unsettling feeling associated with a person, like myself, who assumed for 10 years that the composer of a play about AIDS must have been homosexual, and then one day, suddenly realizes that my otherwise open mind could have been so easily closed by prejudice and lies. A humbling experience to say the least. In any case, Jonathan Larson's story is told with such eloquence and such feeling that it is even more emotionally insightful than the movie itself. In fact, it was only after watching this documentary that I was truly hooked on the story of Rent. And it is then that you realize that Jonathan Larson's story is as much a part of the success of Rent as the story of the play itself. And maybe it is only through his death that the true story can completely unfold and be felt. This documentary reached me on many levels. It left me speechless. And, as you can tell by the length of this review, that is a rare occurence. So, in short, I was inspired by Rent - but as much, if not more, by the story of its composer than by the story itself. They are truly one. I am grateful for having been so grossly misinformed and for not having seen Rent before, because I truly believe that the only way I would have truly enjoyed it is not as a 3-hour play, or as a 2-hour movie, but as a 4-hour movie/documentary that paints the entire picture. And it is a picture that I will not soon forget. Summary: 5-stars for the music, 4-stars for the book, 3-stars for the lyrics, 3-stars for the movie, 6-stars for the documentary. That averages out to about 4-stars. So that's where I'll leave it. But only with these words: Buy this DVD, watch both discs in their entirety, and just let the music and the story reach you as they did me. The feeling will be with you for a long time.
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Reviewed in the United States on July 9, 2006 by TOL
Great all time movie
Reviewed in the United States on August 10, 2025 by Evette Kaplan