WEST SIDE STORY

US, 2021, 156 minutes, Colour.

Ansel Elgort, Rachel Zegler, Arianna DeBose, David Alvarez, Rita Moreno, Brian d'Arcy James, Corey Stoll, Mike Faist, Josh Andres Rivera, Iris Minas.

Directed by Steven Spielberg.

For many audiences, especially audiences who remember the wonder of 60 years ago, West Side Story was a key cinema experience, the music of Leonard Bernstein, lyrics of Stephen Sondheim, the choreography of Jerome Robbins, Oscar for best film, the director, Robert Wise, for cast actors, Rita Moreno and George Chakiris. It was a landmark film of the 1960s. It was New York, social issues, Americans being threatened by Puerto Rican migrants, Anglo-Hispanic clashes, and a Romeo and Juliet adaptation to New York City.

And now, 60 years later, Steven Spielberg acknowledging that it was the key musical of his growing up, directs his first musical film. And, so many critics and audiences wary of a remake, have praised this new version. For those who treasure the 1961 film, they will be happily reminded throughout this version of why they enjoyed the original so much.

But, 60 years later, with the developments in technology, effects, cameras, editing, this is very much a 21^st-century version. Arthur Lawrence’s original book has been adapted by Pulitzer-prize-winning, Tony Kushner.

The audience is immediately taken into the rubble of New York, demolition of neighbourhoods around 68th Street (and an image of the about to be built Lincoln Centre). And, in the open spaces where homes once stood, the Jets and the Sharks begin immediately to rumble. And, we are reminded of the gangs’ music and rhythms, the confrontations of and Americans and Puerto Ricans, vicious, insulting, violent. And, with the rhythms starting, we begin to anticipate all the rest of the familiar music, the songs.

One of the strengths of this version is that Tony, played by Ansel Elgort, who sings his songs, is given a much stronger and credible background than earlier, the fact that he established the Jets with Riff, that he was very violent himself, has spent a year in Sing Sing, but has looked into himself and wants to change. Riff and the others certainly don’t want to change. They are full of resentment. They want to fight, they want to rumble. And there are the police, the chief, as well has the officer immortalised in the song, Officer Krupke.

And, Rachel Zigler, with her Hispanic background, is more realistic than Natalie Wood was. However, Arianna De Bose, already winning awards for Best Supporting Actress, is a powerhouse as Anita, singing, dancing, dramatic, and the whirlwind exuberance of the song and dance, in America (now with crowds in the streets). As we watch her, we are reminded of Rita Moreno and her vitality in that role.

And Spielberg has invited Rita Moreno, turning 90 December 2021, to play a significant role, Valentina, widow of the drug store owner, who gives shelter to Tony, who supports Anita and Maria, who defies the Jets. She has several powerful scenes and it is she who sings Somewhere…

The familiar scenes are there, the fights, the police interventions, the attempted harmony with the dance where Tony and Maria see each other, a Romeo and Juliet neighbourhood balcony sequence, some religious aura as they make vows to each other, the inevitable rumble, knives drawn, deaths.

And, as Shakespeare once told the story, wrong messages, deaths and tragedy, star-crossed lovers.

There is certainly a place for both versions of West Side Story.

1. 60 years since the original version? Its place in film culture? Audiences growing up with it, music, lyrics, story, New York version of Romeo and Juliet?
2. Steven Spielberg and his career, his first musical, its influence in his growing up? His respect for the 1961 version? Continuity, changes, 21^st-century technology?
3. The status of West Side Story in American musical theatre, cinema, Leonard Bernstein, Stephen Sondheim, Jerome Robbins’ choreography?
4. The setting, the period, the 1950s, the demolition of the neighbourhood, preparation for Lincoln Centre? The visuals of the neighbourhood, streets, buildings, slum areas, balconies, the shops, the drugstore? The demolition areas, the salt storage?
5. The songs, their familiarity, the revelation of characters, situations, the melodies, from the gangs of New York to the romantic and wistful themes?
6. The introduction of the gangs, the music, the songs, the choreography, the personalities, their appearances, the Americans, the Puerto Ricans? The visuals of the confrontation, attitudes, stances, scuffles, fights, sneers, the issue of Spanish and English, the putdowns? The Americans feeling they were being excluded? The Puerto Ricans finding their place in the US?
7. The background of the police, Officer Krupke, his mediating, the chief and his visits, talks, stances, use of English, his interventions?
8. The personality of the Jets, Riff and his leadership, with Graziela? The contrast with Bernardo, the leadership of the Sharks? Hostile attitudes, no holds barred?
9. Introduction to Tony, the story of the confrontation, almost killing the boy, the year in prison, change, looking into himself, his working for Valentina, staying with her? Trying to talk sense into the others, their memories of him as establishing the Jets? Riff and his wanting him to go to the dance, refusal, his eventually going?
10. The introduction to Maria, from Puerto Rico, new in New York City, Bernardo as her brother, his demands about her behaviour and Americans, her friendship with Anita? Trying on the dress, getting ready to go to the dance, with cappuccino? Her arrival, the vigorous dancing, the rivalries, the attempted making peace through the dance, the confrontations?
11. Tony arriving, seeing Maria, Maria seeing him, then moving behind the set, the dance, the kiss, the quick establishing of the relationship, love? Bernardo and his intervention? Chino watching? The potential for jealousy? The challenges?
12. Valentina, Rita Moreno’s presence and performance, running the drugstore, helping Tony? The background of her marrying an American? Taunts of betrayal? The wisdom, listening to Tony?
13. After the dance, the balcony sequence, the songs, establishing of love? The plan for the next day, the subway, meeting with Tony, the outing together? Maria pleading with him not to fight? The ceremony of the vows and their marriage?
14. The plan for the fight, the police interning some of the Jets, the taunting of Anybodys The dancing in the mess in officer cookie’s office?
15. The buildup to the fight, the secrecy, the salt storage? Tony and Chino arriving, getting in? The taunts, weapons, knives, Bernardo killing Riff? Tony’s reaction, the fight with Bernardo, stabbing him? Everybody fleeing, leaving the bodies?
16. Tony, the wounds, going to Valentina? The police, Anita, identifying the body? Her returning home, Tony and his being with Maria, their love, Maria pleading with Anita, that she could understand the love? Tony escaping?
17. Chino, with the gun, looking for Tony? The police, Maria sending Anita with the message to Valentina, Anita, the rough treatment by the Jets, Valentina denouncing them, their being shamefaced, the wrong message about Tony? Valentina, hearing, telling Tony?
18. Tony, desperation, into the streets, calling out for Chino, seeing Maria, his being shot, his death? The Jets and the Sharks, standing, watching, Maria and the confrontation, how to shoot the gun? The police arriving, arresting Chino, the solemn entourage with Tony?
19. The range of songs, the vitality of Anita and the singing and dancing, in the streets, with the crowds, in America? The contrast with the shop, the cleaners, and Maria singing I feel pretty? Tony and his initial song, the search for what is just out of reach? The ensemble for Tonight? Tony singing Maria? Valentina singing There’s a place?
20. The energy of the singing, the colour and energy of the dancing? The tragic aspects of the plot?