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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.