Hamilton (2020) review (Disney+)

On August 6^th, 2015, Lin-Manuel Miranda’s newest musical Hamilton made its official Broadway debut at the Richard Rogers Theatre after its initial Off-Broadway premiere at the Public Theater. It was the second musical that Miranda had created following the 2008 production of In the Heights and was inspired by the biography of American founding father Alexander Hamilton that was written by historian Ron Chernow and published in 2004. And while the idea of a hip-hop/R&B musical about the history of America may have seemed like a crazy idea when Miranda first showcased the material that he working on at a White House event in 2009, the show immediately became a pop-cultural phenomenon. The show currently stands as the 7^th highest-grossing Broadway musical since 1982 with a current gross of around $612 million. And at the 70^th annual Tony Awards, it earned an event record 16 nominations and ultimately won 11 of them, including the top prize of Best Musical. But now this brings us to today’s release, which is a unique one given the circumstances. In June of 2016, three select performances of the show were filmed by RadicalMedia (who had also produced a PBS documentary on it) about less than a month before the departure of several key members of the original Broadway cast, including Lin-Manuel Miranda himself. The rights to the footage were purchased by Disney this past February for $75 million, with the goal of having it released in theaters on October 15^th, 2021. But then, as you might have guessed… came COVID-19. The utterly devastating effects of the pandemic effectively resulted in not only the closure of movie theaters worldwide but also the closure of all Broadway theaters. And when it comes to the latter, it was recently confirmed that the theaters would remain closed until next year, which resulted in the decision to bump up the release of Hamilton’s filmed production to make its official debut on Disney+ during the Fourth of July weekend. Thus, those who haven’t yet had the chance to witness what has arguably been the most popular Broadway musical in recent years can now experience the bona fide masterpiece that is Lin-Manuel Miranda’s Hamilton.

Hamilton is the story of the American Revolution as primarily seen through the eyes of Alexander Hamilton (Lin-Manuel Miranda). In 1776, the orphaned Hamilton arrives in New York City, where he meets politician Aaron Burr (Leslie Odom Jr.), statesman John Laurens (Anthony Ramos), aristocrat Marquis de Lafayette (Daveed Diggs), and tailor turned spy Hercules Mulligan (Okieriete Onaodowan). Together, they share their dreams of a nation where they’re free from the brutal rule of Britain and King George III (Jonathan Groff). This then leads to Hamilton being personally selected by Continental Army general George Washington (Christopher Jackson) to be his personal aide-de-camp as America begins to fight for its independence. Along the way, Hamilton also starts up a relationship with socialite Elizabeth Schuyler (Phillipa Soo), who he ends up marrying. Ultimately, America is successful in its efforts to abstain from the British empire, with George Washington becoming the first official President of the United States while Hamilton is tapped to be the Secretary of the newly formed Department of the Treasury. However, while Hamilton does proceed to develop many of the key techniques that would form our country’s current financial system, he soon begins to come into conflict with Secretary of State Thomas Jefferson (also Daveed Diggs) and James Madison (also Okieriete Onaodowan) over some of his more radical ideas. And over the next few years, Hamilton also proceeds to make some decisions that not only leave an incredibly devastating impact on both his political and personal life, but also paves the way for a growing rivalry with his old friend Aaron Burr, who has always longed for the success that Hamilton has had.

So admittedly, this is a much different kind of film than most of the ones I’ve covered over the years that are based on iconic Broadway musicals. To be clear, this isn’t a traditional cinematic adaptation of its source material like the upcoming adaptation of Lin-Manuel Miranda’s other musical In the Heights (which was originally set to come out around this time before being pushed back to next year thanks to COVID-19). Instead, it’s simply just a filmed version of the show that’s made up of footage that was compiled from three separate performances. As such, there’s admittedly not much to talk about when it comes to the film production itself other than the fact that RadicalMedia did an excellent job filming the musical. All the footage is incredibly well-shot, perfectly capturing all the show’s key moments whether it’s via a grand wide shot or an extremely intimate close-up. And despite what I just noted about the fact that this was a collection of separate performances, I assure you that you would never notice that because of how seamlessly edited it all is. As for the show itself… really, what more can be said that hasn’t been said already about Hamilton? It truly is a landmark outing in the history of Broadway musicals as Lin-Manuel Miranda’s sharply written script and instantly iconic musical numbers produce an incredible experience of sight and sound. Each number fully succeeds at conveying the story and gives plenty of depth to its characters, even those who are only in a few select sequences. All this is then thoroughly matched by the terrific Tony-winning choreography by Andy Blankenbuehler that is then elevated even further by the show’s incredibly noteworthy set design that’s headlined by a pair of rotating turntables in the center of the stage.

But, of course, another key element to the show’s success has been its ensemble cast, and the original Broadway cast of Hamilton may just be one of the greatest ensembles of any medium as everyone in that cast from the main leads to the background ensemble dancers are perfect fits in their respective roles. Now, of course, Hamilton has been known for its colorblind casting process, allowing BIPOC performers to portray characters who are historically white. Admittedly, this has been a source of controversy in some cases (especially nowadays) given that some of these historical figures were slave owners, but overall, it’s easy to see where Miranda was going when it comes to making this a story about America as it was as told by America as it is now. And while it goes without saying that the show doesn’t exactly tell the full story behind its characters, there are still plenty of subtle hints to it throughout in a show that I’d argue already does a fine job of exploring the flaws of those who helped shape this country. Of course, it’s all headlined by Lin-Manuel Miranda, who brings his full charisma to the role of Alexander Hamilton while also perfectly conveying Hamilton’s boisterous nature which, obviously, often leads to him making some truly fatal mistakes in life. He’s then perfectly paired with Leslie Odom Jr. in the role of Hamilton’s biggest rival, Aaron Burr (“Sir!”). And instead of just making Burr the archetypal antagonist that ended up killing Hamilton in a duel, Hamilton goes above and beyond to emphasize the tragedy that is Burr’s fate as “the villain in your history” even though he was just as important to this country’s growth as Hamilton was. Another key figure with just as great of a stage presence is Christopher Jackson in the role of our country’s first President, George Washington. While Washington is arguably more of a supporting player in this story, Jackson brings the perfect commanding presence that the role requires while also highlighting the pressure that Washington was under to be the stalwart leader for his country.

Moving over to Hamilton’s female leads, Phillipa Soo is very much the heart of the production as Eliza Hamilton. While Eliza doesn’t directly partake in the key political moments that her husband is involved in before his death, she still serves as the prime exemplar of those who Hamilton and his fellow patriots are fighting for, and in the scenes that they share together, she’s ultimately the one who keeps her highly ambitious husband grounded at just the right moments. And yet, when Hamilton partakes in a scandalous love affair in Act 2, it is Eliza who delivers the most damning critique of them all with her big Act 2 solo, ‘Burn’, where she promptly burns the letters that her husband had written her, thus “erasing [herself] from the narrative”. She also gets to headline the show’s grand finale, ‘Who Lives, Who Dies, Who Tells Your Story’, an incredibly poignant number that reflects on her trials and tribulations in maintaining her late husband’s legacy. Moving on to her older sister Angelica, Renée Elise Goldsberry is equally terrific in a role that’s just as deeply layered as Eliza’s even if it’s a slightly smaller one by comparison. Right from her first major number that she shares with Eliza and their sister Peggy (Jasmine Cephas Jones), ‘The Schuyler Sisters’, she’s immediately established as a woman who’s clearly ahead of her time, and as for her desire to find a “mind at work”, that ends up being fulfilled in arguably the best possible way when she meets Hamilton. However, as heartbreakingly conveyed in her big Act 1 solo, ‘Satisfied’, she ultimately has to hold back on the romantic feelings that she’s fostered for him when he begins a relationship with Eliza since she cares about her sister’s happiness above all else. As for Jasmine Cephas Jones, while she admittedly doesn’t have much to do as Peggy (something that even the musical straight-up acknowledges given all its historical context), she also plays a second role as Hamilton’s mistress Maria Reynolds in one of the big standout numbers of Act 2, ‘Say No to This’.

Jones, of course, isn’t the only one to take on a dual role as almost every other key member of the main cast portrays separate characters in each act. The most prominent of the bunch is Daveed Diggs, who plays two characters who have distinctly different relationships with Hamilton. In Act 1, he’s Marquis de Lafayette, one of Hamilton’s greatest allies in their fight for freedom. In Act 2, he’s future President Thomas Jefferson, who’s Hamilton’s biggest foe on the political stage. But in both cases, Daveed Diggs is an undisputed stand out as the two characters who are very much the rock stars of the whole production. Next up, there’s Anthony Ramos, who starts out in Act 1 as John Laurens, another key ally of Hamilton’s and a big proponent for the abolishment of slavery. Sadly, this was something that he never got the chance to see happen for himself as he tragically died in a battle that had occurred at a point where the war was already over (as revealed in a number that was intentionally left off the soundtrack, ‘Tomorrow There’ll Be More of Us’, so that the live show could have something all its own). Moving over to Act 2, Ramos also plays Hamilton’s firstborn son Philip, who’s shown to be a bona fide prodigy like his father… but is tragically killed young in a duel that came to be because of Philip defending his father’s honor. But while both of Ramos’ characters end up dying tragically, the strong rapport between Hamilton and Laurens in Act 1 really shows how much Ramos has flourished from Miranda’s material, which can be further illustrated by him taking on Miranda’s In the Heights role of Usnavi in the upcoming film adaptation. The final dual-role member of the cast is Okieriete Onaodowan as Hercules Mulligan in Act 1 and James Madison (who, like Thomas Jefferson, would go on to become President) in Act 2. And while these two are very much supporting players in the larger story, Onaodowan makes the most out of them whether he’s the boisterous Mulligan or the calm and collected Madison. Finally, who can forget Jonathan Groff as King George III? Sure, it may not have been exactly necessary to have him be in the story since he isn’t directly involved with any of the main characters’ affairs, but Groff is another standout as the delightfully hammy tyrant with some of the musical’s most entertaining songs.   

I should probably note that, at the time of this review’s publication, I’m one of the many who have yet to see Hamilton performed ‘live’. Obviously, a lot of this is due to it being such a big hit that the hunt for tickets has often been nigh impossible, but even when it came to Rhode Island via one of its U.S. tours in 2019… that was at a point where I had officially moved down to Florida. With all this in mind, there’s certainly a lot to appreciate when it comes to this new release. While it obviously doesn’t replace the experience of seeing Lin-Manuel Miranda’s modern masterpiece in the way that it should truly be seen, RadicalMedia’s sharply-produced filming of the original production is a wonderful option for those whose sole experience with Hamilton is its soundtrack. And really, I’m curious if this ends up paving the way for more filmed productions of popular Broadway shows down the road. Now, to be clear, Hamilton isn’t the first Broadway musical to get this treatment as it has happened before with shows like Cats and Phantom of the Opera. In fact, this isn’t even RadicalMedia’s first foray into the medium as they also did one of these for Rent in 2008 (which, ironically, also starred Renée Elise Goldsberry). But perhaps the most important thing to note here is that, despite what I just said, I do recognize why, from a financial standpoint, this is usually a rare occurrence. Basically, to go off of what I noted earlier, while it does provide a way for those who either A.) don’t live in New York or B.) can’t really afford Broadway tickets to see these shows, it still doesn’t come close to replicating the experience of seeing them live. And considering the current predicament we’re in thanks to COVID-19, this is a case just like the film industry where the world of theater needs all the support that it can get right now. Still, given that this version of Hamilton was recorded several years ago with the long-departed original Broadway cast, it ultimately serves as an example of how something like this can be done in a reasonable manner that won’t hurt the theater industry, especially since we’re talking about a musical that does live up to the hype.

Rating: 5/5!

A Star is Born (2018) review

After years of being one of the most prominent leading men in the film industry, Bradley Cooper has now taken his first step behind the camera. And for his first directorial effort, he goes the ‘old-school’ route with a new spin on a famous tale of a sweet but tragic romance. Yes, this happens to be the fourth rendition of A Star is Born, which sees an aging celebrity take an aspiring ingenue under his wing while also falling in love with her at the same time. First, there was the 1937 film centered around the film industry, with Janet Gaynor and Fredric March in the leading roles. The film was well-received upon its release and earned an Oscar for Best Original Screenplay. It was adapted again in 1954, where the focus was shifted more towards musicians. This version was most notable for being touted as the big comeback for the one and only Judy Garland, and she ended up earning an Oscar nomination for Best Actress as did her co-star James Mason for Best Actor. A third adaptation of the story was produced in 1976, now focusing on rock stars, and starred Barbara Streisand and Kris Kristofferson in the lead roles. But while the film was a financial success and spawned a Platinum-selling album featuring music from the likes of Paul Williams and Kenny Loggins, it was ultimately a flop with critics, many of whom felt that it was a blatant vanity project for Streisand and her then-husband, producer Jon Peters. With all this in mind, this now brings us to the 2018 version of this classic story. Not only does Bradley Cooper direct it, but he also stars in it alongside music superstar Lady Gaga. And with their terrific chemistry, fantastic musical performances, and a strong sense of emotional depth, this new take on A Star is Born ultimately proves to be one hell of a directorial debut.

For many years, singer Jackson Maine (Bradley Cooper) has had much success in the music industry. However, as the years have gone on, he has slowly descended into alcoholism and drug abuse, a trait that was partially inherited from his father, while also suffering from gradual hearing loss due to tinnitus. One night, during a drunken stint in a Los Angeles bar, he meets Ally (Lady Gaga), a waitress and aspiring singer-songwriter. However, despite showing much potential as a songwriter, Ally tells Jackson that she’s consistently faced rejection from all the big record labels because they feel that while she has an amazing voice, she doesn’t quite have ‘the look’ of a music star. Regardless, the two begin to bond and Jackson ends up inviting Ally onstage at one of his shows to sing a song that she had recently written. This little stunt of his proves to be a major success, and soon enough, Ally starts getting major attention from all over the country to the point where she eventually gets signed to a major label and begins a solo career. And while Jackson and Ally continue to fall in love, to the point of them getting married, this romance soon finds itself put to the test due to the vastly different trajectories of their respective careers. Plus, Jackson also begins to have some major issues regarding the decisions made by Ally’s manager Rez (Rafi Gavron) to give her an overly sexualized persona.  

At the time that I’m writing this, I haven’t seen any of the other versions of A Star is Born, though I have at least read up on their plots. As such, and without spoiling anything major, if you have seen any of the other films, then admittedly this one isn’t that different in terms of its overall plot, especially when it comes to its ending. To be clear, though, this is not a bad thing in this instance as the film is ultimately a showcase for Bradley Cooper’s excellent direction. From a technical perspective, everything in this film is very well-handled. The cinematography is solid as is the editing. And as a musical, this film is second to none when it comes to its soundtrack. Performed live on set (per Lady Gaga’s request) instead of the more traditional lip-sync method that’s commonly seen in musicals, the musical numbers in this film are fantastic and really showcase the vocal talents of its two main leads. Gaga, of course, has already made a name for herself as one of the most iconic singers of her generation, but Cooper majorly impresses in his first big musical, showcasing the fact that he clearly prepared for his role. And even with a rather hefty runtime of nearly two and a half hours, the film very much succeeds at fully engrossing you in this tragic story of two sympathetic but flawed musicians whose budding romance ends up going astray because of their respective careers going in entirely different directions. This is then bolstered further by some additional emotional depth that delves into themes like the fear of one’s voice being lost when forced into becoming something that they’re not.

Chemistry is also a key factor in producing a strong romantic drama, and Bradley Cooper and Lady Gaga have quite arguably some of the best onscreen chemistry that I’ve seen in recent years. Their camaraderie is so strong that while the film is, of course, primarily a drama with emotional moments that are handled beautifully, it also leads to a lot of strong humorous moments as well, arguably making this one of the best ‘dramedies’ in recent years. More importantly, though, is the fact that neither lead overshadows the other, providing an excellent balancing act when it comes to the two main characters’ efforts to support one another. Bradley Cooper excellently conveys his character’s southern charisma along with the emotional gravitas of someone who’s quickly becoming a ‘lost soul’. And as for Lady Gaga, in her first leading role in a feature film after some cameos in a few Robert Rodriguez films and her role in the fifth season of American Horror Story, she is fantastic. She holds her own against Cooper and perfectly captures Ally’s vulnerability and the confidence that she gains over the course of the film; in other words, it’s an emotionally raw and extremely captivating performance. The film also boasts some highly memorable supporting roles, with the most prominent of these being Sam Elliott as Jackson’s older brother/manager Bobby Maine. And while he may not be the main character here, his scenes with Cooper are some of the most emotionally powerful in the entire film given the story arc surrounding their strained relationship. Other notable standouts include Andrew Dice Clay as Ally’s supportive father Lorenzo and Dave Chappelle as an old musician friend of Jackson’s who helps him out during one of his many ‘low points’ in the film.

In short, there’s a lot of good things that I can say about this film. Even as the fourth rendition of a classic romance story, Bradley Cooper’s take on A Star is Born, for lack of a better term, hits all the right notes. It eases you in with the wonderful chemistry of Bradley Cooper and Lady Gaga, producing some solid bits of humor to lighten the mood. Then, it rouses you up with its fantastic musical numbers that use the vocal talents of its two main stars to their fullest effect. Finally, it dives into the most emotional moments of its plot, resulting in the heartbreaking conclusion to this tragic story of star-crossed lovers. This all comes together nicely thanks to the phenomenal direction from Cooper, showing that he clearly has a lot of potential as a director. And like I said before, it’s really saying something of how effective this film is at conveying all its emotional depth considering that this isn’t the first time that this story has been told. Thus, any way you look at it, this new rendition of A Star is Born is a worthy update of its source material. And just like the three films that came before it (yes, even the 1976 film won an Oscar for Best Original Song despite its mixed reception), this film is sure to be a major frontrunner at this year’s Oscars for its direction, musical numbers, and most importantly, its performances.     

Rating: 5/5!