West Side Story (2021) 20th Century/Musical-Drama RT: 156 minutes Rated PG-13 (some strong violence, strong language, thematic content, suggestive material) Director: Steven Spielberg Screenplay: Tony Kushner Music: Leonard Bernstein Cinematography: Janusz Kaminski Release date: December 10, 2021 (US) Cast: Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, Brian d’Arcy James, Corey Stoll, Josh Andres, Iris Menas, Mike Iveson, Jamila Velazquez, Annelise Cepero, Yassmin Alers, Jamie Harris, Curtiss Cook. Box Office: $38.5M (US)/$76M (World)
Rating: ****
A great big thank you to Steven Spielberg for restoring my faith in musicals with his reimagining of West Side Story, the second film adaptation of Jerome Robbins’ Tony-winning stage musical. After suffering through the wretched Dear Evan Hansen earlier this fall, I was fearful it would come to represent the future of the genre. I doubt that will be the case since it flopped at the box office, but I was still slightly trepidatious about what Spielberg might do to one of the most beloved cinematic love stories of the 20th century.
It turns out I had nothing to worry about. West Side Story is one of those rare instances where the remake absolutely does the original justice. Spielberg and screenwriter Tony Kushner (Munich) stay loyal to the play and 1961 film (winner of that year’s Best Picture) while making a few changes in a way that makes it fresh and vibrant. Thankfully, none of them involve characters rapping in lieu of singing or speaking. The iconic songs by Leonard Bernstein (music) and Stephen Sondheim (lyrics) remain intact as does the storyline originally conceived by Arthur Laurents.
If you want to get technical, the plot of West Side Story was actually conceived by William Shakespeare. It’s essentially a modern version of Romeo and Juliet with its tale of forbidden love between a boy and a girl from different worlds. Two street gangs, alike in dignity, in fair New York where we lay our scene, from ancient grudge to imminent rumble. The Jets (the whites) and the Sharks (the Puerto Ricans) have been going at it for a while. Both want control of their neighborhood, the Upper West Side, a crumbling place living under the looming shadow of the wrecking ball tearing down the old to make way for the new.
Love grows from hate the moment Tony (Elgort, Baby Driver) spots Maria (Zegler) across a crowded gymnasium at a local dance. Tony, a recently paroled convict and former Jet, is trying to go straight. Maria, the younger sister of Shark leader Bernardo (Alvarez), has recently arrived in America from Puerto Rico. She’s been ordered by her big brother to not even look at a gringo. When she and Tony first lock eyes, it’s love at first sight. Tony’s interest in Maria so offends Bernardo, he agrees to Jet leader Riff’s (Faist) terms for a rumble. In other words, it’s ON!
I don’t think I have to go into too much detail about the plot. Most people I know have seen the original movie, either on their own or with their parents or grandparents. My mother was a big fan of West Side Story. She watched it every time it was on TV. I didn’t see it in its entirety until I was in my 20s. I loved it. I love the remake as well. One of the best creative choices made by Spielberg was NOT to update the story. It’s still set in 1957, a time when diversity wasn’t a widely accepted practice. People tended to stay with their own kind. A mixed-race relationship like Tony and Maria’s was socially verboten. Their complicated love story wouldn’t make sense set in 2021. Things were way different back in the 50s and 60s. I say this because it’s important for younger viewers new to West Side Story to understand the time and context.
You know what, I don’t want to talk the sociopolitical aspects of West Side Story anymore. Instead, I’d like to focus on its entertainment value. It’s VERY entertaining! This is how a musical is done right. It opens with the Jets prowling, gliding, sliding and dancing through the streets of NYC, gathering in larger numbers as the scene progresses. Look at the way it’s set up; you’ll notice something unusual. It’s NOT one of those choppy, quick-cut deals aimed at teens with short attention spans. No, Spielberg and cinematographer Janusz Kaminski (Bridge of Spies) go completely old school with West Side Story. The camera doesn’t just record the actors dancing and gliding; it moves along with them capturing every movement. The staging of the numbers is spot-on each time, especially “America” which now takes place in the streets and sidewalks instead of the rooftops. It’s a real show-stopper.
My other favorite number is “Somewhere” which is not sing by Tony and Maria this time. The wonderful Rita Moreno does the honors this time. As I’m sure you know, she won an Oscar for playing Bernardo’s girlfriend Anita in the 1961 film. This time, she plays sympathetic shopkeeper Valentina who provides Tony with a job, place to stay and good advice. She sings “Somewhere” wistfully as she remembers her marriage to a gringo. She is magnificent in the new West Side Story. It’s great hearing the 90YO actress sing again. She deserves a second Oscar for her performance here.
So what about the two leads, Ansel Elgort and newcomer Rachel Zegler? In the case of the latter, it’s safe to say a star is born. Not only does the half-Colombian actress do all her own singing (unlike Natalie Wood), she also strikes just the right balance between innocent and fiery. As for Elgort, he’s good. I didn’t completely buy him as a street tough, but he has great chemistry with his co-star. Faist is fantastic as Riff; he does a great job with his big number “Gee, Officer Krupke”. Speaking of which, Brian d’Arcy James (Spotlight) does a good job as the nemesis of both gangs.
West Side Story is a triumph on every level. The production design is awesome and authentic. It’s an absolutely beautiful production. I had one complaint about the movie, but after reading a friend’s comments and doing a little research on my own, I’ve changed my tune. Initially, I didn’t like the absence of subtitles when the Puerto Rican characters spoke Spanish. I got the gist of what they were saying, but I wanted to know everything they said. Blame the completist in me. I learned that it was a conscious choice on the part of the director to not translate what was being said. He wanted to convey the idea of cultural inclusion. Subtitles would just undermine the PR characters, remind audiences of differences instead of similarities.
ANYWAY, consider me a big fan of the new West Side Story. It’s incredible, outstanding and simply wonderful. It has the same emotional impact as the original. It’s worth noting that it’s Spielberg’s first musical. Once again, he proves he’s still one of the finest filmmakers of his generation. He really knocks it out of the park with this one. Well done, sir.
