by Heath Lynch, Contributing Writer
This year marks the 60th anniversary of the original Best Picture-winning West Side Story from 1961. However, a lot can change in six decades. Society’s taste in movies, in musicals, and its views on social commentary have all adjusted dramatically. So how does this Romeo & Juliet-inspired story look through a modern lens? Well, after taking in this new film, all I can say is… Tonight, tonight, the world is full of life, of bustling dancing, and explosive songs. of elegant costumes and vibrant cinematography. Tonight is full of passionate performances, stirring emotion, and an affectionately adapted musical for a new age as Steven Spielberg brings us his version of West Side Story, what I would argue is now the definitive version of this musical tale, and the best movie of the year.
I imagine that a lot of people are already knowledgeable of the original film, or of the stage musical itself. However, for the uninitiated, let’s at least give you an idea of what you might be getting into. West Side Story takes place on the upper west side of Manhattan in New York City during the 1950s, a time where material inequality is rampant, and economic prosperity is not granted to everyone. This leads to a rise in crime, as well as isolationism, where people are not willing to extend their hand in assistance of one another, especially if you’re different. In this case, different means a different race, racial tensions in the form of gang warfare are boiling to the surface. Riff (Mike Faist) is the leader of the Jets, a gang of white boys who are determined not to share a neighborhood with the Sharks, a gang of Puerto Rican boys led by Bernardo (David Alvarez). There are constant scuffles and fights between the two gangs transpiring day in and day out, and they’re escalating to dangerous levels. Tony (Ansel Elgort), Riff’s best friend and former Jets leader, is a captivating figure looking to move beyond this violent lifestyle by attempting to become a better person. However, the whole world gets turned upside down when he meets María (Rachel Zegler), Bernardo’s sister, and they end up falling in love with each other. This only raises the tension between the Jets and the Sharks until an all out war is declared between the rival gangs, to deadly consequence.
There’s been a lot of talks as to whether or not this musical remake is necessary. Honestly, the original West Side Story is a classic. It was a commercial success at the time of its release, earning over six times its production budget at the box office. It was a critical success as well, earning 10 Academy Awards, including Best Picture. It is still adored and revered by many to this day. Sure, there may be dated production values, and it was shot like a stage production and not like a movie, but these are minor faults indicative of films from that era. The only truly egregious issue is the original’s casting of white actors and use of makeup to darken their skin so they can play Puerto Ricans, which is disgusting even if that was also acceptable at the time. But the music, dancing, and most importantly the messaging, is still just as powerful as ever. So why make a new one? Especially when this remake is being directed by Spielberg. Yes, he’s one of the most acclaimed directors in the history of film, but he’s also never taken on a musical in his life. Does he even have the necessary skill set to bring this to the silver screen to a satisfying level? Well, I can definitively say that all of these concerns are unfounded. In fact, this remake feels more relevant to our modern day society than ever before, and it couldn’t be more welcomed.
The most impressive thing about this film to me is how natural Spielberg felt as its director, especially after his last effort was the special effects burdened, and much maligned popcorn blockbuster Ready Player One. You would be forgiven for thinking he’s been directing musicals his entire life. He has such a great understanding of framing to get the most out of his compositions, not just in regards to scenes of dialogue or action, but also of extravagant dance numbers and songs. His use of camera movement from dollies to tracking shots brings a life to this film that the original could only dream of obtaining. Janusz Kaminski, the cinematographer, is also delivering a great level of richness and authenticity to how this film looks. In tandem with Spielberg, the two are implementing the use of light bloom and lens flare throughout this picture reminiscent of Spielberg’s work on War of the Worlds, or Minority Report. But it’s not as distracting as something like J.J. Abrams did in Star Trek. Instead, it’s endearing. It adds an element of magic to the film, heightening scenes. There’s also a real granular texture to the aesthetic of the film. There’s a grittiness to it that allows the movie to play in the high fantasy realm of musicals where everything is jovial and fun, while being grounded in the real world, with real consequences.
Of course, these actions and consequences are trivial if we cannot relate to the characters. Luckily, the screenplay and casting in this picture excel at pulling every sentiment out of you. One thing everyone will note very quickly upon watching this film is that there are no subtitles during the Spanish speaking segments of this movie. I found myself respecting Spielberg’s bold vision to not run subtitles. It helps to illustrate the language barrier to those of us who do not speak both languages, which only serves to highlight the divide between these two communities on screen. As well, it really shows how important context and body language is to our everyday communication. Even when I didn’t understand the exact words being said, I understood their purpose, meaning, and the emotion behind them. Even beyond this directorial decision, the adapted script is sharp. The dialogue is much more believable than the original film, and it does a lot to help us empathize with our characters. It also creates a lot more depth for our characters as they are more than just one-dimensional gang members. They have professions, relationships, aspirations, and more. This makes their growth, and their character arcs, so much more hearty and substantial.
If the script weren’t enough to make you care about these individuals, these performances will certainly hook you in. Faist is terrific as a Riff, and in many ways he steals the movie for me. He portrays a great false sense of confidence, where it’s clear that underneath it all he is a frightened boy who does not know what to do with his life. He plays cocky and arrogant just as well as he plays hurt and vulnerable. Alvarez is also great as Bernardo. I really appreciated the added story element of him being a boxer to give more depth to his position in the world, and his intensity. The look of regret in his eyes after he becomes aware of his own destructive actions is haunting. Ariana DeBose is also spectacular as Anita. There is such a high level of intensity in the passion of her performance, from her dancing, to her vocals, to her anguish. Undoubtedly though, the star of the show will rightfully be Zegler as María. She is a bright and shining star sent to light up this familial tragedy. Plucked right out of graduating high school, Spielberg really found a diamond in the rough with Zegler. Her ability to emote is palpable. Whether it’s joy or sorrow, she fills the room and her presence demands your attention. And that’s before you even consider her tremendous vocal performance. I hope she has a bright future, and I look forward to seeing her in many films to come.
We obviously have to talk about or lead, Elgort, as well. But we can’t do that without first addressing the giant elephant in the room. Since the filming of this movie, over the pandemic in the past year and a half, allegations have come out against Elgort about the possible sexual abuse of women, including a minor. To that end, I imagine that if these allegations had come out during filming he would’ve likely been fired, and Tony would’ve been recast. As the movie had already wrapped filming, however, this is where we stand. Separating the art from the artist, I can say that Elgort does a spectacular job in this film. His portrayal of Tony is far more impressive than that in the original film, especially as the script gives much greater detail to his background and past tribulations. There’s a greater sense of great regret and remorse in this portrayal than we ever saw before, and his singing skills are fantastic. But with that said, I recognize not everyone will be able to make that separation. I hope that the accusations against him are fully investigated. If he is found guilty, I hope he is punished to the full extent of the law, because that behavior is vile and should be punished. If he is found to be innocent, I hope he can go on to have a solid career, because he is clearly quite the talent. While at this time these allegations have not been proven, I imagine that the court of public opinion has already rendered a verdict in most people’s eyes. But, regardless of the verdict, Elgort’s work in this movie is terrific.
With the above line appraisal out of the way, let’s get into how well-rounded this film is with its technical achievements, like the use of color throughout this film. It’s impressive how bright and lively this picture is during scenes like the dance social compared to the grittiness of the salt room rumble. This falls in line with the lighting techniques, with that rumble looking particularly stunning as the silhouetted shadows creep in from the sides of the screen, or how absolutely stunning Elgort looks while singing while simply standing in a puddle. I’ve never seen a puddle look so beautiful in my life. It truly looks magical. This color palette ties directly into the costumes. That dance mixer wouldn’t look nearly as festive and bright if we didn’t have these elegant and gorgeous costumes — stunning dresses that flare out beautifully while twirling on the dance floor, sharp suits that work as a great contrast to the everyday gritty clothing. I even appreciate how the Jets are traditionally garbed in dark blues and grays, while the Sharks are in reds and browns. It serves to make every day life still feel like a battle between communities, while allowing for a unique color palette to the film. All of that pales in comparison to Maria’s dress, which appears so simple on the surface, even though it is laced with so many subtle details throughout. I also have to praise the production design throughout this film. These sets mirror ‘50s Manhattan so well. The construction of these apartments, or the layout of the fountain soda shop is all great. You’re enveloped in the era.
All of that, and we haven’t even brought up how amazing the actual musical elements of this musical truly are. The singing throughout this movie is terrific, with performers belting out notes with impressive range and cadence. Vibrato hanging on long sustaining chords will tickle your heartstrings. Songs like “Maria,” “One Hand, One Heart,” and “Tonight” will move your soul, and well your eyes up with tears. Others like “Jet Song,” “Cool,” or “America” will beg you to sing along in excitement. It’s also worth noting that this music was originally written for the stage and original film by Stephen Sondheim, a theatre legend who sadly passed away just two weeks before the release of this film. Mr. Sondheim, your music is incredible, and it will live on in infamy. Even beyond the music, the dance numbers throughout this picture are extravagant and spellbinding. There’s no way that you’re not beside yourself with excitement inside as you watch the “Mambo” dance off. This is quite simply some of the best dance choreography you could ever hope to see in film. Beyond that, one of the greater updates from the original film to this one is how all the fights are choreographed. The original looks like a stage production, a theater dance. This movie actually has fights that look like fights. The Jets and Sharks are really beating the crap out of each other, which adds so much intensity to the experience, while still working really well in unison with the music.
I would note, however, that the runtime of this film could be quite an issue for some moviegoers. This film is 156 minutes long. When compared to other musicals, this is right in line with what you would expect, especially when compared to the original film. However, this will still feel laboring to some. In fact, I wouldn’t be shocked if some people even found this to be boring, though that was never the case with me. In fact, I felt the time fly by. I was entranced throughout the entire spectacle. Even the way the film was edited made the pacing of this movie feel swift and moving. There’s a pulse, an energy, to it despite its length.
More than anything else, this hits you on an emotional level due to its brilliant expression of its thematic elements. Even more wide-ranging than the original, this film takes on a gamut of social issues with definitive points of view on each of them that warms the heart and brings a tear to your eye. The most obvious social element throughout this film is regarding race. The film dives into deep-seated prejudices, and the destructive nature of hatred. It shows how hate begets more hate, and most hatred is spawned from misunderstanding. It is relentless in its view that we are stronger together, when we put our differences aside, than when we hold our stubborn differences up as a badge of honor, and as a means to build up walls and barriers between ourselves. Beyond that, the film has a healthy approach to economic material conditions. It touches on the idea of nature versus nurture and what it means to grow up in a community that society deems unacceptable, and how greatly family impacts your growth in these areas. The film also beautifully explores the idea of redemption and second chances. It asks if people should be allowed the opportunity for rehabilitation, or should they be eternally crucified over past mistakes. There’s also an adjustment from the original film to this one with one of the side characters that I found to be very welcoming regarding the trans community. A character that was previously portrayed as simply being a tomboy is now a trans male in this picture, which opens up the world to more layers of social growth and understanding. It’s amazing how cyclical our culture can be, where the sins of our past return and remain problems for today. How these troubles from the ‘50s are still relevant today. But if you watch this movie and can’t get something out of it regarding economic instability, social status, over policing, the LGBTQ+ community, crime and poverty, or overt racism, then you didn’t watch the movie at all. These poignant and timely views are needed now more than ever, and I applaud this film for how beautifully it executes on all of its messaging.
I went into this film with incredibly high expectations based on my love of the original film, and musicals in general. A lot had to go right for this film to work, and there was a lot working against it. Against all odds, Spielberg and this film triumphed. This is truly a magnificent movie that takes all the joy and magic of the original and elevates it to new heights with increased production values, better casting and acting, and a more hard-hitting, gritty emotional edge. West Side Story is an absolute masterpiece, and one of the best films Steven Spielberg has ever made. I fully expect this film to be a big contender during award season, and it will be much deserved.
Grade: A+
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