West Side Story (A or 4/4 stars)
'West Side Story' is Steven Spielberg's highly anticipated & SENSATIONAL version of the 1957 Broadway musical, which inspired the great Academy Award-winning 1961 movie; Tony Kushner adapts & enriches the story. The film tells a Romeo & Juliet-inspired tale of star-crossed love and warring street gangs in 1950s NYC. The Jets, who are Caucasian descendants of those who emigrated from Europe, are led by spindly-but-dangerous Riff (Mike Faist, terrific), & the Puerto Rican Sharks, who are newly arrived in America, are led by aspiring boxer Bernardo (a forceful David Alvarez), confront each other over turf issues. Enter into the story Tony (Ansel Elgort), the founder of the Jets who returns from prison hoping to turn over a new leaf.
Having taken a job working for Doc's drugstore owner, Valentina (iconic Rita Moreno), Tony wants no part of his 'old life', yet reluctantly agrees to attend a dance where both gangs will be present. Along with the Sharks' leader Bernardo & his seamstress girlfriend, Anita (Ariana DeBose, so great) is Bernardo's younger sister, Maria (newcomer Rachel Zegler). Though Maria is set-up at the dance with Chino (Josh Andres Rivera), fate steps in when she locks eyes with Tony. It is love at 1st sight for them {set in a transcendent under-the-bleachers meet-cute}, but trouble starts when they are spotted together. While Riff challenges Bernardo to a rumble to settle control of the neighborhood streets, reformed Tony just wants to keep the peace. But his growing relationship with Maria creates more friction btwn. the rival gangs and, tragic circumstances make the lovers' future seem impossible.
Spielberg's re-imagining of this legendary musical is energetic & marvelously cast with meaningful updates from the 1957/61 versions. From the immersive opening crane shots to the fabulous 1st number {"Jet Song"} to the high-octane gym dance number, through the romantic songs, the buoyant "America", and on to a poignant version of "Somewhere" sung by a woeful Valentina (Rita Moreno) ... Spielberg schools every modern musical director on how to approach the genre through classical filmmaking. The staging & execution of it all is just fabulous. Speaking of Rita Moreno, what a joy to have this EGOT winner back; having Rita in this film is a stroke of casting genius. Rachel Zegler is excellent as Maria who, while young & naive, has dreams & convictions of her own. Her singing is sublimely operatic and, she just lights up the screen.
While I'm sure Ansel Elgort was cast for his tall, handsome looks, boy did he impress me with his voice {on "Something's Coming" & "Maria"}, his agility {the scintillating "Cool" number} & I believed how gaga in love his Tony was with Maria ... and vice-versa. Further to their credit, unlike Natalie Wood & Richard Beymer from the '61 version, their singing is not dubbed. As Anita, Ariana DeBose is a firecracker. I loved her dynamic dancing, her sisterly attitude towards Maria ... and she dials up the emotions in that turbulent last 1/2 hour. Mike Faist is charismatic as HELL as the lean, mean, anarchist Riff. His fun tough guy persona leaps off the screen and, he feels plucked right outta the 1950s – I was glued to his every word & action. The entire cast impresses. I also admire how Spielberg & scripter Tony Kushner gives the supporting players more agency; Anybody (Iris Menas) is transgendered, rather than just a tomboy. And added heft is given to Riff. Each character has a touch more back story than in previous iterations of the show.
Leonard Bernstein's music & the late Stephen Sondheim's gorgeous lyrics {the 91 yr. old passed away just weeks before this premier} stand the test of time. The entire "Tonight" sequence on the fire escape provides perfect visual storytelling and had me swooning for Tony & Maria's burgeoning love. "I Feel Pretty" takes place in a department store where Maria & her friends work. "Gee, Officer Krupke" is a RIOT. And the show-stopping "America" is now set outside in the Puerto Rican area of the Upper West Side. This number is infectiously entertaining and, Spielberg knew how to film it; place the camera on the performers and let 'em rip. It also must be said that the lush orchestrations of Bernstein's magnificent songs simply soar out of the speakers.
'WSS' provides a dazzling display of filmmaking that feels raw & alive. Spielberg's camera is almost always on the move. Oscar-winning cinematographer & longtime Spielberg collaborator Janusz Kaminski dazzles us with incredible shots that rise from below, swoop from above, & dilate the eyes. Jerome Robbins' original choreography is honored by Award-winning choreographer Justin Peck. Michael Kahn & Sarah Broshar's editing is leisurely when it needs be & kinetic during the big production numbers. Adam Stockhausen & co. provides a staggering 1950s NYC for us. And Paul Tazewell provides vibrant costumes that Technicolor would be proud of. Every single visual & sonic component of this production is a roaring success.
Spielberg's 'West Side Story' is simply resplendent entertainment. It is what I affectionately call a "Movie-Movie": a sweeping, ravishing piece of art. The film is both reverent to the source material while offering a more encompassing feel & correcting some issues from those very works. i.e. Moreno having been the only Latin actor in the '61 film. Themes of social injustice, racism & the power of compassion are expanded upon the prior versions; providing the rare occasion where a musical adaptation doesn't feel superfluous. In fact, though pertinent in the '50s, this film's themes are an even more striking microcosm of the strife currently eating at the fabric of society today. So sit back & revel at the romance, the grandeur, the joys & anguish of it all.
Having taken a job working for Doc's drugstore owner, Valentina (iconic Rita Moreno), Tony wants no part of his 'old life', yet reluctantly agrees to attend a dance where both gangs will be present. Along with the Sharks' leader Bernardo & his seamstress girlfriend, Anita (Ariana DeBose, so great) is Bernardo's younger sister, Maria (newcomer Rachel Zegler). Though Maria is set-up at the dance with Chino (Josh Andres Rivera), fate steps in when she locks eyes with Tony. It is love at 1st sight for them {set in a transcendent under-the-bleachers meet-cute}, but trouble starts when they are spotted together. While Riff challenges Bernardo to a rumble to settle control of the neighborhood streets, reformed Tony just wants to keep the peace. But his growing relationship with Maria creates more friction btwn. the rival gangs and, tragic circumstances make the lovers' future seem impossible.
Spielberg's re-imagining of this legendary musical is energetic & marvelously cast with meaningful updates from the 1957/61 versions. From the immersive opening crane shots to the fabulous 1st number {"Jet Song"} to the high-octane gym dance number, through the romantic songs, the buoyant "America", and on to a poignant version of "Somewhere" sung by a woeful Valentina (Rita Moreno) ... Spielberg schools every modern musical director on how to approach the genre through classical filmmaking. The staging & execution of it all is just fabulous. Speaking of Rita Moreno, what a joy to have this EGOT winner back; having Rita in this film is a stroke of casting genius. Rachel Zegler is excellent as Maria who, while young & naive, has dreams & convictions of her own. Her singing is sublimely operatic and, she just lights up the screen.
While I'm sure Ansel Elgort was cast for his tall, handsome looks, boy did he impress me with his voice {on "Something's Coming" & "Maria"}, his agility {the scintillating "Cool" number} & I believed how gaga in love his Tony was with Maria ... and vice-versa. Further to their credit, unlike Natalie Wood & Richard Beymer from the '61 version, their singing is not dubbed. As Anita, Ariana DeBose is a firecracker. I loved her dynamic dancing, her sisterly attitude towards Maria ... and she dials up the emotions in that turbulent last 1/2 hour. Mike Faist is charismatic as HELL as the lean, mean, anarchist Riff. His fun tough guy persona leaps off the screen and, he feels plucked right outta the 1950s – I was glued to his every word & action. The entire cast impresses. I also admire how Spielberg & scripter Tony Kushner gives the supporting players more agency; Anybody (Iris Menas) is transgendered, rather than just a tomboy. And added heft is given to Riff. Each character has a touch more back story than in previous iterations of the show.
Leonard Bernstein's music & the late Stephen Sondheim's gorgeous lyrics {the 91 yr. old passed away just weeks before this premier} stand the test of time. The entire "Tonight" sequence on the fire escape provides perfect visual storytelling and had me swooning for Tony & Maria's burgeoning love. "I Feel Pretty" takes place in a department store where Maria & her friends work. "Gee, Officer Krupke" is a RIOT. And the show-stopping "America" is now set outside in the Puerto Rican area of the Upper West Side. This number is infectiously entertaining and, Spielberg knew how to film it; place the camera on the performers and let 'em rip. It also must be said that the lush orchestrations of Bernstein's magnificent songs simply soar out of the speakers.
'WSS' provides a dazzling display of filmmaking that feels raw & alive. Spielberg's camera is almost always on the move. Oscar-winning cinematographer & longtime Spielberg collaborator Janusz Kaminski dazzles us with incredible shots that rise from below, swoop from above, & dilate the eyes. Jerome Robbins' original choreography is honored by Award-winning choreographer Justin Peck. Michael Kahn & Sarah Broshar's editing is leisurely when it needs be & kinetic during the big production numbers. Adam Stockhausen & co. provides a staggering 1950s NYC for us. And Paul Tazewell provides vibrant costumes that Technicolor would be proud of. Every single visual & sonic component of this production is a roaring success.
Spielberg's 'West Side Story' is simply resplendent entertainment. It is what I affectionately call a "Movie-Movie": a sweeping, ravishing piece of art. The film is both reverent to the source material while offering a more encompassing feel & correcting some issues from those very works. i.e. Moreno having been the only Latin actor in the '61 film. Themes of social injustice, racism & the power of compassion are expanded upon the prior versions; providing the rare occasion where a musical adaptation doesn't feel superfluous. In fact, though pertinent in the '50s, this film's themes are an even more striking microcosm of the strife currently eating at the fabric of society today. So sit back & revel at the romance, the grandeur, the joys & anguish of it all.