At the time, Lin-Manuel Miranda, the idea, the story of Alexander Hamilton said almost exclusively with a cast of brown and black actors has its own kind of big bang. People have tried before (1972 Attachment A ,: the lackluster movie musicals in 1776) in the history of the founding fathers, often with miserable results to jazz. And theater companies productions of Shakespeare plays and other works assembled by white, English-language canon with casts of all for people of color. That the US history has established a land of white men, the first country took indigenous, so the wealth built by the work, but in the early days of our rich history of country with special attention, Miranda says something few people had recognized open people slave belongs to all of us, regardless of color. You have both and right up to, depending on who we are and who our ancestors were, if we were quo strong benefits from the state or damaged by it. With Hamilton, Miranda added a Swooping day of the great line of Woody Guthrie: This land was made for you and me, and that I was taken from you. The main problem with expansive view spectacle of Hamilton was the first time at New York’s Public Theater in 2015, almost impossible to see Broadway hit was that so few people before he could find out. But a film version of Hamilton will change everything: Miranda, who also plays the title role, and show director Thomas Kail had recorded some 2,016 performances at the Richard Rodgers Theater, with the intention to end theatrically released a turning film. Although this plan was put aside by COVID, the “film” version is available for streaming starts to be July 3 at Disney Hamilton +, and it is a pleasure to watch, both a pleasure and a great piece of scholarship pop, a conversation with a conscious sense of history and trivia. Miranda was inspired to write the play after Ron Chernow 2004 for reading the biography of Alexander Hamilton, and he hits pretty close to it, opens the show with a raucous series that tells us, in shorthand, the Alexander Hamilton was, as he would say shame not to know, but you do not know? The most important figures in the life of this courageous and extraordinary figure come forward, one by one, to sing only part of their role in history, weaving around each other, like links in a chain of people. These include his sweet, but surprisingly intelligent and strong woman, Eliza (Phillipa Soo); Filippo (Anthony Ramos), the son who died tragically; and Angelica (Renée Elise Goldsberry), Eliza sister who loves her brother-in-law in a way that causes her great suffering. Hamilton meet friends as the Marquis de Lafayette Suave (the fabulous Daveed Diggs, who also plays Thomas Jefferson), and the leader Hamilton a trusted advisor, George Washington (Christopher Jackson). And finally, there is the man who, like, you discover “the idiot who shot him,” Aaron Burr (Leslie Odom Jr.), an obsessed novelist whose competitiveness and takes him a moment’s resentment essentially two lives end, even if it results in a single instant death. At the center of it all is Miranda Hamilton, a man who, as he says, the world will know his name. Born out of wedlock in the British West Indies, he was orphaned at the age of 12; As a young man, he is so brilliant that he was sent to study in New York. From there, it will be a soldier, a trusted member of the then General Staff Washington, a lawyer and, finally, the first Secretary of the Treasury. But it is also one of the architects of the United States, both as a nation and an ideal, an immigrant who Miranda said, “got the job done.” Miranda, both as a writer and actor, approaching Hamilton story with stars in their eyes and sense of joy and discovery of rings through the material. There is drama enough here for three lives, let alone one. Hamilton, by Miranda as charismatic, impulsive, sometimes confrontational figure, is a magnet for all that life has to offer, and grabs a part of it imprudent. As a performer, Miranda is almost to the point of exuberant exaggeration; at close range, its wide, open expression recorded at times as a robbery, a problem that might be in live performance is not so obvious. However, its energy contributes in the day, and the artists around him eat it; strengthens, so it seems the enthusiasm for something new, the whole show as a large basin-Crash is an announcement of “I’m here!” The musical numbers, all written by Miranda, slide easily from the swagger 90s to the cadence of Harlem Jazz and not just rap. As overly Miraculously, no-show tuney sound: That music is usually sung meant that not wearing a seat belt. There are ballads that resonate with a dark stage ( “E ‘quiet Uptown”) and teasing, invite blues numbers, like a neon nightclub signs ( “the room, where it happens”). King George III’s big moment: “You will return” -the monarch who loses his grip on the colonies by an exaggerated comic played Jonathan Groff has slipperiness swervey Anthony Newley cabaret tune from the early 70s. There are more than 20 songs in nearly all-too many! But the variety is so great that they do not grow tiresome. The staging is inventive and graceful: At one point, a phase rotation segment allows players in Hamilton circle of life in mesmerizing slow motion, like the ghost story come to us to remember that once were meat and blood. If you already have the show-I-have not seen these delicacies will be new for you. But even if it does not match the excitement of the live show, filmed Hamilton will have its advantages: Kail, the director of this movie and the game, chooses his first plan carefully, and there are not busy, distracting the machine work photographic. The effect is to not watch the show from the best seat in the house, but from the top ten places. Best of all is watching the applause of the many wonderful actors who really do Ablaze with the enthusiasm of something new. But it also touched on the history of this chaos cracked a country, bold and dramatic blood is to remind all of us, but also to build on. As Hamilton reminds us, we can calculate the sum of our founding fathers of good ideas and their misdeeds. The authors define the framework for the future, but left the task of filling ourselves.