2.8 West Side Story

From someone who has never yet been fortunate enough to watch both nor the Broadway musical and original 1961 West Side Story, it's automatically therefore hard to initially judge how best this re-imagined version has improved upon from it's source material. Instead Steven Spielberg's re-imagining of both the stage and screen musical classic, feels revolutionary and often complimentary when in best conversation with the original. Directed by Steven Spielberg and written by Tony Kushner, this 2021 American musical romantic drama for all intents and purposes portrays a much more authentic, grittier, edgier and melancholy adaption. Which feels not just complimentary but rather more honest about mirroring society and the subsequent divisions between both unliked minded people. As audiences are better able to fully comprehend how best and far the Country has come, whilst still being and dealing with imperilment. With this along, with the Shakespearean love story being as old as time itself.

Starring the likes of Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist and Rita Moreno, this for sure is a West Side Story for a new generation, with Spielberg's fluidity in the language of film on show from the very beginning. As both Spielberg and Polish cinematographer Janusz Kaminski combine perfectly to create one of the most visually stunning and dazzling works of Hollywood cinema in recent memory, that still somehow remains true and loyal to it's routes. Whilst the pair also manage to expertly capture the urban poverty and series of social pressures that littered the streets in 1950s New York. Whilst Tony Kushner's driven writing brings a huge amount of depth to each individual character, as each subsequent performance rises perfectly to match the enormously high standard set by it's previous, beloved forebear. As it seems to be just the right time, for this generationally classic, to be relieved and re-imagined once again on the big screen, with it combining a compelling and dynamic blend of it's original both insane and incredibly convoluted score alongside modern sensibilities.

This surprisingly however is Spielberg's first feature musical which manages to showcase not only his craftsmanship and experience but personally in particular his unwavering love and admiration for it's origins and music itself. As his masterful technique creates a both wholesome and heartbreaking tragedy that isn't afraid to always align to the modern world as well as it's faithful roots. With the film opposing such a huge task and substantial risk to the filmmaker, when it came to remaking something already seen and known as iconic. Whilst the inclusion and casting of Puerto Rican actors was both hugely groundbreaking and impactful to the Latino community, as it was fair to say that many issues and harmful pieces of the first adaptation were patched up. This inevitably therefore led to those actors in reason, being better able to perfectly depict and represent their culture and struggles. As this revived production, with the Latinx community, better portrays both race and representation, something which was both groundbreaking and also well received. Even though at much people's core, who adore the orginal 1961 classic, there were and are still things that could stand for improvement. This was none other evident and primary seen in the fact that those actors often playing the sharks weren't of Puerto Rican descent or Latinx at all.

At it's core West Side Story follows the intricate and uniquely controversial love story between both star-crossed lovers Tony and Maria, who soon enough find themselves on opposite sides of a common street war, between two gangs The Jets and Sharks. Often the common and broader strokes are keep relatively the same and familiar, except for a few minor plots tweaks and rearranging. However the remakes relationship to the time period, is an instant change, with if offering arguably a much more authentic, naturalistic template, to which it's story is grounded and based upon. Its immediate and very noticeably departure from it's classic counterpart, is very clear to see, although it was partially shot on location, the 1961 classic offers and exists within a much more heightened and vivid New York. Whereas instead of choosing to express the ongoing problems and particular issues through a combination of spaces, dialogue, dances and Stephen Sondheim's heartfelt lyrics. Steven Spielberg's re-imaging takes place and decides to situate such characters where they can be seen living under an abundance of constant pressures, fears and threats of displacement. Which is only further enhanced by the intricate and meticulously detailed production design, that helps to further enhance the living and breathing decay of the surrounding neighborhoods and streets. As often best, the film not only accurately depicts such surroundings but also in particular, those exact such streets that you can't help but feel and know where such stories and tragedies took place. As like The Jets themselves, they were often born into such poverty but rather also an ideology of how people in extreme poverty gradually became both desperate and nihilistic. With many unable to truly see a future for themselves. The end result being that like the surrounding neighborhoods themselves, they often give way to a rougher, gritter interpretation of it's characters.

This subsequent second feature-length adaptation however, was only made possible due to the remarkable and stellar works of those from the original 1957 Broadway Stage Musical. In particular four Jewish men who would go onto not only shape but rather instead revolutionise what a musical could both look, feel and sound like. These legends of Musical Theatre included director, conceiver and choreographer Jerome Robbins, Musician and conductor Leonard Bernstein, Lyrical and songwriting genius Stephen Sondheim and playwright for who the orginal Broadway musical was based upon, Arthur Lawrence. With them so often able to comprehended the ideas of otherness as well as also brilliantly understanding the whole notion of an immigrant's journey. With the Original West Side Story being the if anything, the work of four men, who were exactly part of a marginalized community in America. Inevitably this led to characters who best felt familiar, written by those who new best, about such ideas and fears of being foreseen as outsiders. As so often people living in such periods, were accepted for there talents, rather than for who they really and truly were. Within modern day society for a production that's over 60 years old, the Orginal 1961 West Side Story, today is arguably regarded as one of the greatest, all-time musical films ever put to screen. Choreographed by Jerome Robbins, he skillfully and masterfully moved and threaded the needle in terms of how best dance, as a language, could not only feel entertaining but instead also be interpreted as a particular language to tell stories and communicate important meanings. With the 1961 classic, breaking new, unforeseen ground in Hollywood, acting as the first real Puerto Rican representation on the big screen, in the mainland. The beloved orginal would go onto win subsequently ten Academy Awards, with it still remaining today perhaps the most iconic of all the Shakespeare adaptations to visit the big screen. As it for it's time, was a Musical milestone, with a combination of it's dazzling array of colours, thrilling camera work and fast dramatic editing giving it a uniquely satisfying punch.

One particular reason for such it's success fell down to the fierce, breathtaking performance from none other than Anita herself, played by Rita Moreno. Setting the standard and quality for her other accompanying lead performers, Moreno carved not only her performance into acting legend but rather instead also, into a subsequent Academy Award. As her performance tackled and showcased what Puerto Rican's could do on the big screen, with her often dealing and joining the orginal production, at a time where such colourism and prejudice had become a hallmark of modern Hollywood. Moreno today however seemingly among her numerous accolades, is one of a few to have won and received four major annual American entertainment Awards, spanning across her illustrious 70 year career. This distinctive and legendary legacy, was all once again on show as she again returned subsequently for Spielberg's 2021 remake. Returning in a role, specifically written for her, by Tony Kushner. If anything Rita Moreno perfectly and subtly embodies everything that holds and makes West Side Story so relatable and important, still to this very day, with the film seemingly and arguably more relevant today, than it first was back in '57. Whilst her most recent portrayal as drug store owner and close confidante, Valentina is filled with such knowledge and subtle wisdom.

As Spielberg firstly began and opted to take inspiration from the orginal source material, as the 1957 Broadway Musical was used as the stories much grounded base, rather than just initially attempting to simply remake the '61 classic. The end result being a much more open and honest adaptation, which best appeals to both modern day societies and morals, with it's postwar New York setting, teeming with wrecking balls and desecrated foundations, of where buildings once stood. This subsequently is the stomping ground and home of the Jets, who are mainly a white fighting gang trying to rebel and save what little is left of there neighbourhood. Whilst there subsequent turf war is with their sworn Puerto Rican enemies, the Sharks. Ringleaders of both groups are as fanatic as they are interesting, with Mike Faist expertly crafting a deeply driven and chilling performance, as he must constantly face the gentrification and urban improvement swarming around his very feet. Which never undertakes the true pain and determination he's battling from within, he's terrifying, mesmerizing and also defiant at the same time. Whilst former Tony award winner, David Alvarez plays Bernardo a man seemingly often playing on the edge of both love and danger, his performance alongside Ariana DeBose is uniquely compelling with his sheer determination and passion for his country, similar to that of his common enemy. Whilst at it's core this passionate and hatred fuelled war, best takes aim at the white supremacy that underscored both the times and the orginal itself.

While within such mess and turmoil we find both engrossed and intoxicated lovers Tony and Maria, with them if anything being the life and sole of this film throughout. You can't help but feel, for all the pain and destruction surrounding there very feet, as most magical and captivating of all, is how the film subtly and expertly captures the passionate and unwavering love between it's two leads. A totally engrossing and wildly imaginative conception that isn't certainty afraid to depend on more delicate hearts, whilst it's a conception of how, there young love must face and overcome some fierce challenges, seemingly making all it's other flaws simply melt away with ease. As if anything, Rachel Zegler in her feature length movie debut, justifies such an re-imagining, with the on screen newcomer bring a vibrant, natural performance that brings a youthful, radiant and lifelike honestly to it's film's operatic romance. She seemingly flows through a delicate intersection with nervous discomfort around Tony, whilst weirdly still eventually finding a sense of comfort within that discomfort and uncertainty. As if it's a particular part she can best share and relate back to him, further depicting there truly unbreakable bond. Whilst Spielberg's re-imaging brings and depicts a much more conflicted and rougher Tony, someone with good morals at heart, but yet is still conflicted and often finding it challenging to navigate through the complexities of his past guilt. His accompanying array of dance moves similarly feel more controlled and elegant when in contrast to his much bolder, springily Jet counterparts. If anything it's further showing the man he wants to become, and the life of crime he's trying to leave behind. Whilst his subtle, tingling voice contrasts and joins harmoniously with Zegler's powerful, agility and range. With Tony still conflicted by his deviant background, often making his story rather seem like a wresting match between both the light and darkness. With Maria seemingly his light and savior bring him closer to a life of redemption and happiness, embodied only further by the contrast and use between both flashy lens flares and heavy shadows. Ansel Elgort plays Tony with a subdued anger and regret as these combine to create a character more searching for a peaceful resolution rather than a fight. Making it's cruel ending hurt even more. As Tony's inner demons match and collide perfectly with the film's gritty and crumbling corner of New York, that wants nothing more than to perfectly rebuild itself into something respectable and commanding.

With Spielberg and Kushner's re-imaging finding it's very own voice, in such moments when it pushes and dares to be distinctive. Nowhere more than in the place and hands of Legendary actress Rita Moreno as her mentor like relationship with Tony, showcases both there incredibly sweet and trustful dynamic. As Ariana DeBose thrillingly fills her shoes, whilst Moreno gets an executive producer credit along with the role of widowed owner of Doc's Drugstore, Valentino. With her character seemingly able to see right through Tony to his very core. Especially when it comes to how easily he can be persuaded to fall back into danger. Moreno depicts Valentino lovingly as her portrayal perfectly combines both honestly and love, as her portrayal of Anita in the orginal, therefore exists and makes for the most explicit connection between the two works. As she comes to yet again embody the heart and soul of this new production, as well as everything it continues to stand for. With this genetic link between both the past and present, lending a certain sense of gravitas and pure honestly to its successor.

Other such smart moves were the inclusion and casting of non-binary actor Iris Menas as Anybodys, showing Spielberg's like mindedness and wholesome energy when depicting modern world sensibilities. Whilst it was rather this versions portrayal of Anita, by former Hamilton star, and staged veteran Ariana DeBose that stole the show, with her having such deep complexities and morals that align both her characters instincts and future. DeBose shines, moves and emotes with true elegance and tremendous passion, whilst still in such sequences away from the films, elaborate dance numbers, she illustrates such fierce beauty and bravery, that combines with her characters goals of an ambitious future. These such tropes and particular characteristics was something actress DeBose was able to showcase, as so often they were those exact things she'd once discarded and hid away during her childhood to fit in. With Anita a woman who wants to both assimilate and dream of a much brighter future. While those exact morals and responsibilities are what we see her mainly deal with throughout the film, as she arguably endures the biggest journey and subsequent character arc throughout. She expertly portrays a strong sense of hope along with deep notes of both anger, sorrow and love, with her perfectly embodying the characters truly tremendous and commendable passion.

Whilst Justin Peck's renewed and invigorated choreography has an enormous task to live up too, when in contrast to the already high and legendary standards set by Jerome Robbins. Before however any production was even in the works, Peck was already very familiar with such works and techniques, as this perfectly allowed him, like the film itself, to re-imagine and best interpret it's style for more modern audiences. He walks a fine line between both remaking the orginal and finding his very own, personal and unique voice. He expertly crafts such sequences that beautifully portray dances ability to exert it's very own, unique language onto the audience. Whilst those refreshing moves best interpret and evolve to the time period while the gradual change and evolution between and from both mambo to salsa is thrilling. Whilst it never separates nor challenges the orginal, it rather respects it's wholesome beginnings and creates an entertaining and wholesome, adrenaline rush which often is quickly injected passionately into some of the film's biggest numbers. With the camera riding with intense fluidity and creative control to best match the exact same excitement and energy you can imagine filled the air. This is evident through the ballroom dance attended by both the Jets and the Sharks, with Spielberg and screenwriter Tony Kushner's re-imaging setting it's very own, distinctive standards, during shots that begin with an handsome widescreen vistas, which then suddenly transitions between and from a strangely subdued palette to bursting, vibrant colour one.

This if anything is thrillingly and beautifully shown through the much expanded and re-imagined 'America' sequence, with this being a prime example of how best Spielberg managed and expanded upon it's once restricted, contained counterpart. As taking such sequences to the streets opens up the films elaborate sense of scale and excitement, as it's 1961 counterpart was almost restricted and imprisoned in it's stage-like visual conception, with it's story bursting to life through wide shots and lateral movement across the screen. In contrast Spielberg's re-imaging allows both director and cinematographer Kaminsky alike to charge swiftly and breathlessly into the third dimension. Exploring how these characters move through their environment and how the environment moves through them. With such sequences best illustrating the films underlying celebration of how do you best sing the language you love, with often its overall drive, drama, romance, passion and humor being some of the films biggest strengths.

While the film feels like it might become too ironic or self indulgent, Spielberg and Kaminsky lean unapologetically into their dreamlike formalism, using bright lights and broken spaces to root the characters in the real and the ethereal all at once. Creating such a swift contrast between it's gritty setting and magical narrative, that is expertly presented when Tony ends up at Maria's balcony, with the dingy lights from the neighbouring cramped apartments above, shimmering into the filthy, dingey streets and puddles below. Making him seem like he's walking on stars, as this breathtaking imagery is exactly what keeps bringing us back to the movies. With such numbers best portraying and pinning to audiences, the idea of how people can best communicate their deepest feelings to one another. Even thought the film takes place over largely a two day timescale, Tony and Maria's love similarly doesn't feel too ironic or cliché, instead Spielberg's intricate, swift pacing moves like a freight train. With it's 156 minutes passing by in barely a breath, whilst it's compelling and breakneck pace still has enough time to still feel equally intricate and diverse. As it's combined expressionist aesthetic and candy-coloured like imagery reminds me to well of blockbusters, we seemingly don't see too often these days.

With Spielberg's visual translation of the original's often latent ideas, making for a compelling and stunning complementary piece. At once now much rougher and more dazzling, it tremendously has such a high points that seldom overlap with it's predecessor. Resulting in a remake that feels hyper-charged and wholly justified rather than just sleepwalking through a bad, lacklustre photocopy. What seemingly however feels very distinctive to Spielberg's re-imaging is rather his wholesome and creative like-mindedness, with the film a lot more than just about, love trying to rise above hatred. As this film rather seemingly better reflects the more modern day society now knows about Hispanic heritage, race, identity and overall representation. With the subsequent hiring of many Puerto Rican singers, actors and dancers often enabled and help producers to better understand and create a film that made people proud of there heritage. As it was vitally important that such representation was both accurate, authentic and shown just the right respect and integrity it deserves. Whilst along with historical consultants, popular documentaries of the time were used, such as ones by Bruce Davidson, to help better guide the cast depict accurately what people from the time were really suffering and having to comprehend with. As so often along with this delve back in time, historical consultants were able to uniquely bring such materials, expressions, language and idiosyncrasies that further enhanced and cemented such representations. Another compelling yet at first slightly perplexed idea was the lack of inclusion of subsequent subtitles from Spanish speaking sections. This however among my second viewing was something I found an added bonus, with it better enabling audiences to understand the experienced living of or in bilingual households. As so often new Puerto Ricans arriving in New York, were subject and greeted to such racism, white supremacy and xenophobia, which is later bravely confronted and accurately depicted within it's remake. With these historical accuracies lending an deeply driven narrative structure, to which the films main tension is built around. With the subsequent turf war between both the Jets and Sharks, seeing The Jets being people from often more poorer backgrounds, seen being flushed from the sewers and into a life of dedicated crime. Whilst the newly arriving Puerto Ricans desperately are trying to navigate through the films and current time's complexities to the eventual American Dream.

At it's core Steven Spielberg's re-imaging of the 1961 classic, West Side Story is much more seemingly aware and honest reconstruction of it's classic, tradional counterpart, whilst still often remaining and feel very distinguishable in it's own right. With it not just worthy of the orginal but also astoundingly separate to it. Personally this films spectacle and thrilling excitement is what I think many will enjoy most, it's familiar best and legendary musical lyrics stay the same. But if anything, what this film substantial enhances and improves upon is it's tone and subsequent messaging. Spielberg and Kushner have imagined a much more authentic, gritter an edgier tone that best complements both its characters and surrounding New York Streets. They both seemingly showcase there expert craftsmanship and ability to create a seemingly time-tested genre, feel somehow both fresh and invigorating once again. Whilst along with it's exceptional pacing, impressive choreography and set designs, West Side Story is much more deeply routed and honest depiction, of which feels truly alive once again, it's a meaningful and wholesome tragedy, in which your routing for no one to get hurt. While it's rather what's new about this subsequent remake, that makes it all to appealing, it's stellar cast and equally brilliant performances are both compelling and captivating. Whilst upon my first viewing I found it all a little to much to comprehend, but after returning for a second viewing, was I truly able to better not only respect but truthfully see what best the film wants to accomplish. It's spectacle and theatrical set pieces are as amazing as they are captivating throughout, whilst it's performances constantly match the extremely high bar set by it's predecessor. With Spielberg's brilliant understanding and ability to accurately depict modern day sensibilities setting and countering the supposed flaws and needs of improvement from it's original. As Audiences more than ever, are able to see and think about the things we've achieved and although still, the great distance we still have to go. When it comes to tackling racism, representation and identity, with the plot constantly aligned with not only the tragedy itself but rather also a great sense of hope. As still in the face of pure heart wrenching tragedy, love can still truly prevail and endure tolerance and prejudice. With such issues needing and being often defeated, one love story at a time. 4/5 Stars