Miranda keeps a sort of tender distance away from Larson’s perspective, so that we have room to critique both his egotism and his music, which is juvenile, frequently mediocre, and only occasionally brilliant. This movie is not a hagiography, and it stops short of treating Larson like a genius. Rent, which won him a posthumous Pulitzer and reshaped Broadway forever, will. Larson wrote Tick, Tick … Boom! before he actually did become a success, so he doesn’t know, as we do, that neither this show nor the show within the show will make his legacy. He’s landed a workshop for the big ambitious musical he’s working on, and he’s pinned all his hopes for the future on it: After the workshop, he won’t have to work as a waiter anymore after the workshop, he’ll be a success. Tick, Tick … Boom!, out on Netflix this Friday, tells the story of a musical theater composer named Jonathan Larson as he approaches his 30th birthday. Miranda’s desire to stay true to Larson’s vision breathes through Tick, Tick … Boom! The film, which stars Andrew Garfield as Larson, is suffused with an affectionate protectiveness: protectiveness toward Larson, who died at age 35 in 1996, and toward Larson’s musical legacy. “When I was making this film,” Miranda said, “I just kept thinking, ‘What would Jonathan Larson want?’ That was my first goal.” It was from Lin-Manuel Miranda, the film’s director as well as the creator and star of Hamilton. Boom!, the new movie based on an autobiographical musical by Rent composer Jonathan Larson, a message played.
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