Hey, you know that Broadway show Rent that you were super into as a theater kid in high school, then just sort of forgot about when you got older. It was based on an opera, which was based on a book of sketches in lives of starving French artist in the early 1830s. What I watched is film version made in 1926 staring Lillian Gish and John Gilbert. Just to repeat - I’m writing a blog about a silent film based on an opera based on a book all of which inspired Rent. Spoilers ahead.
“Would you light my candle?
What are you staring at?”
- From not this version
Rodolphe is a playwright disgusted that he has to sacrifice his art by writing puff pieces for a local paper in order to help pay the rent of his shabby flat. He shares the flat with Marcel, an artist, Schaunard, a musician, and Colline, a philosopher (played by an Edward Everett Horton that was so young I didn’t even recognize him). The fifth member of their group is Musette, Marcel’s girlfriend who usually has some money because of her job . . . a job left unsaid in the silent film. Get it? Unsaid? Silent film? Oh fine. Yes. Musette is a sex worker. They invite into their circle Mimi, a seamstress who lives in the same building and struggles to survive. While the others make light of their meager earnings and eked out existence, Mimi is determined to survive to the point where she works long hours in her freezing garret apartment without a coat. Why no coat? She had to pawn it of course.
The circle of “Bohemians” are clever, boisterous, and usually drunk. They declare the hardships of their life simply they way it must be for them to be geniuses of the thinking world. I think in the opera there are more side plots featuring Marcel, Musette, and the others but these have been left out to keep the run time at 90 minutes. You don’t really get as much of the comradery as you would expect in a movie about an artists community. When do they dance on a table in a restaurant in a show of solidarity to their non-conformist lifestyle?
Anyway, when Mimi declares her love to him, Rodolphe becomes a play writing fool, which is great for his art, but not for the bills. As he’s neglecting his job selling stories to the local paper and Mimi’s work has slowed, she works herself to the bone trying to keep them both fed. In the opera she leaves to be mistress to a wealthy viscount. In 1830, either a woman has integrity or a full belly, not both. In the film, the viscount only promises to show Rodolphe’s plays to a theater manager he knows in exchange for Mimi’s company. Rodolphe drives her away in a fit of jealousy like a punk. Seriously, he’s a whiny brat who blames his outbursts on artistic integrity. Then, too late, he figures out everything Mimi has done for him, after batting her around some. Swell fellow.
Anyway, feeling guilty and realizing how sick Mimi is, Rodolphe make the grand gesture that he will give up his craft to earn money through a day job. Martyr Mimi won’t allow him to do such a thing. She runs away to the streets of Paris where he can’t find her. Meanwhile, Rodolphe writes a masterpiece that make him a great success in the theater world. By the time Mimi comes back to him, she’s dying of consumption. The whole group gathers around her as she declares her love one last time and states that she is happy. The end.
Therefore, remember folks - suffer for your art and you too can be a genius who loses your girlfriend to tuberculous.
