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Eric Atreides

West Side Story (2021)

West Side Story (2021)  

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  1. 1. What'd You Think?



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Energetic and delightful with dazzling dancing sequences and a tragic ending to close things off which frankly I didn't expect (never saw or know anything about the original). Spielberg directs the hell out of it and Rachel Zegler is a star in the making. A must see cinematic event. 

Edited by CJohn
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pretty good. nice to see that one of the best directors of all time didn't mess up the best musical of all time. i think the cast is generally better (except nu-riff doesn't match my beloved russ tamblyn!) but I do think it's lower energy than the original and misses the Jerome Robbins spark. It's impressive, functional, clever new staging of the classic numbers, a quick 2.5 hours but if i'm ever in the mood to watch west side story again this is always gonna be my second choice.

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It was mostly great and put to rest my doubts about its existence. It's another take on it and Spielberg's love for the material shines through in every scene. He fleshes out the supporting cast and the setting, he gives even the silly romeo+juliet love story at the centre some moments to feel a bit more significant and re-arranges some songs to different effect. But the masterstroke I think is including Rita Moreno giving her a real role and let her sing Somewhere. This is what makes it to me a very welcome companion piece to the 1961 movie rather than just a remake.

The new cast is also very good and yeah Zegler is way better than tanned Natalie Wood but I think we 're way past the point of giving props to Hollywood for not doing brownface in 2021. That shit shouldn't even be a conversation anymore. Even though I would give both Spielberg and Kushner props for all the careful and thoughtful reworking of the story and its themes, would be a lie to say that it packs anywhere near the same punch as it did back then. A 2021 movie saying what this movie is saying is always welcome but a movie saying this in 1961 was ground-breaking. And I wasn't around then to witness the cultural impact, I saw the original like 3 years ago. But watching a movie that looks and feels "Old Hollywood" having numbers like America or Officer Krupke is kinda shocking even to modern eyes.

If there's one thing I didn't love was the somewhat lower energy in some places. Spielberg's sweeping and floaty camera does absolute wonders for the more ballad-y songs like Maria, Tonight or Somewhere but I feel there's something missing in the more energetic dance numbers. His staging of America or Krupke or Cool absolutely work within his version but at the same time they don't have the electric energy of the 1961 versions where the camera was in mostly fixed angles capturing the dancers set the stage on fire.

 

But otherwise I loved this, it's imo the best Spielberg movie in 15 years. Is it better than the old classic? Probably not. Is it worse? Not by much.

 

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Steven Spielberg's best movie since Lincoln, and an overall improvement over the iconic 1961 movie. It's almost impossible to believe that Spielberg has taken so long to make his first musical after tackling pretty much every other genre over the course of his storied career: he shows such a strong understanding of how to stage an effective musical number (my favorite: "America"), with each and every one of them leaping off the screen with a tremendous abundance of energy filtered through the breathtaking cinematography by Janusz Kaminski. The music (by the late Leonard Bernstein and the recently departed Stephen Sondheim) is just as hummable as ever, and the themes are no less timely today than they were 60 years ago. The biggest improvements in this version come from the cast. This is easily the most convincing performance I've ever seen Ansel Elgort give, as he does a much better job of giving the hopelessly bland Tony a more vibrant personality than Richard Beymer did. Rachel Zegler provides the biggest improvement as a much better Maria than the obviously miscast Natalie Wood: she exudes such a confident screen presence that it's hard to believe this is her first acting gig. David Alvarez and Mike Faist are also excellent as stronger versions of Bernardo and Riff. But the MVP is Ariana DeBose, who plays Anita with just as much fire and effervescence as Rita Moreno did. And then there's Moreno herself, who is quietly heartbreaking as a rewritten version of the Doc character who acts as the voice of reason. Oftentimes, there are questions as to why remakes happen when there are already compelling versions of the same material out there already. Spielberg and Tony Kushner have provided a phenomenal update that answers why the concept of remakes, even of seemingly untouchable classics, should sometimes be embraced instead of feared. A

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I've never seen the original nor am I a big musical guy.... this thing RULED. I was enthralled from start to finish. I'd say it's Spielberg's best since Catch Me.

 

His blocking and camera work was giving me the tingles.

Edited by RichWS
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As someone who adores the 1961 version of West Side Story and was at best cautiously optimistic about the prospect of even a directorial titan like Steven Spielberg remaking it, allow me to say that you may safely leave any skepticism at the door – Spielberg’s take on the timeless musical is a marvelous new version that at least matches -and perhaps even surpasses – its cinematic forebear. Like the best Broadway revivals, Spielberg’s West Side Story hits all the best beats of the source material with grace and keen awareness of what made it work so well in the first place while also successfully taking the central narrative in bold and uniquely compelling new directions. Even when it’s most clearly paying homage to the 1961 film, it feels like a vivid, essential film that practically bursts at the seams with Spielberg’s passion for the material and desire to leave a memorable stamp on it. Spielberg has always been an exceptionally talented visual and spatial director, and his sensibilities prove perfect for the film’s energetic musical numbers and it’s smaller, more intimate moments alike. Screenwriter Tony Kushner also does fabulous work with a new script that recenters the Jets/Sharks rivalry in a context that touches upon gentrification, overpolicing, and the manner in which laws protect business interests and turn the victims of capitalism against each other along racial lines – and he does it all without feeling self-consciously preachy or divorcing the narrative from the context and feelings associated with its period setting. Kushner also adds numerous dialogue exchanges that enhance the emotional power of the songs and succeed in setting this version apart from the one that came before. The cast assembled is also an excellent ensemble that rises to the task of filling such iconic roles with gusto. The performances are so strong across the board that determining a “best in show” will largely come down to viewer tastes. Perhaps the most obvious subject for acclaim is Rachel Zegler in the lead role of Maria. Zegler’s voice is absolutely beautiful, and her Maria is a remarkably well-realized portrait of youthful innocence and love under constant threat of being corrupted by the hate and disinterest of the powers-that-be surrounding her. She captures Maria’s wide-eyed wonderment and enraptured feelings of love so well that the darker developments of the latter half of the film hit especially hard. Ariana DeBose is also in excellent form in taking on the iconic Anita role. Assuming a role once played by a cast member who appears in this very film is no small task, but DeBose rises to it with supreme confidence and has little trouble owning it. In supporting roles, Mike Faist and David Alvarez succeed in crafting highly memorable new versions of Riff and Bernardo, each delivering performances that meet the heightened emotions of the setting without feeling like they are overplaying. Rita Moreno also makes the most of her role as Valentina, this version’s Doc, in a radiant performance that commands the screen with such elegance that one cannot look away in any of her scenes. Her presence in the film never feels like a gimmick, but rather like a brilliantly realized opportunity to bridge these two cinematic iterations. Even Angel Elgort, who is very clearly the least vocally talented member of the cast, is in fine form as Tony, playing the part with appropriate wonderment and gravitas at various turns. And, of course, in customary Spielberg fashion, the technical aspects of the film are absolutely top-notch, as the filmmakers succeed in developing a New York that feels true to the source material (even featuring some fairly obvious callbacks to the 1961 film) all the while allowing this film to establish its own separate and equally effective identity, and Janusz Kaminski’s cinematography (his best since 2007’s The Diving Bell and the Butterfly) produces an abundance of memorable images and allows the passion and energy in the musical numbers to shine through. Though it seemed like Spielberg had set himself up with an impossible task on paper, he triumphs with this take on West Side Story and crafts the most dynamic and unforgettable musical adaptation in many years. 

 

A

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If I’m going to be completely honest what I keep coming back to is they fucked up the choreography. That’s the nagging voice in the back of my mind that is stopping me from going like full Stan on this. I understand that the 1961 version has its issues, but the way that they filmed the ballet aspect of the musical is not it. And I rewatched the opening prologue of the 1961 version today and there’s just something so magical about the ballet. There’s just such an energy to how they film it. It looks fucking fantastic. And I know that it helps that they actually got to film at that time on that location, but I just think the 1961 movie looks better too. One of my favorite things about it is how it’s so grounded in realism and its location, but the way that it uses dramatic lighting makes it feel like it’s in a dream. That tension makes for such fantastic visuals.
 

All of that said, that’s why we still have the 1961 version. And we can still watch the 1961 version and appreciate what Jerome Robbins and Robert Wise put on screen in terms of pure dance.

 

Because the story here is definitely more meat. And I think the best decision they made was to acknowledge the gentrification of Lincoln Center. That really gave the story more urgency, it gave everyone more character motivations, and It was one of those great self evident updates that really elevated the story without actually changing anything.

 

I actually halfway through the movie thought I would’ve preferred if this was just not a musical. Because there’s some weird pacing issues. There’s a lot of talking. There’s a lot of moments without music. Which again was really jarring for me. I also hated the placement of I feel pretty. I don’t know I just that did not work for me. Officer Krupke did not work for me at all. I was pretty mad during that as well. Does it get it like the 1961 version it’s just they did it right the first time why are we doing it again!!!!

 

Same thing with America. There’s such a raw angry energy in that number in the 1961 version. Something about them turning it into a walk and talk just really rubbed me the wrong way.  On the other hand, I liked that this version felt more like an uplifting celebration of the neighborhood. I like that we worked our way to the giant dance number at the end like an explosion of joy.

 

that said, I really think Gene Kelly was right. We need to start filming musicals in 16:9. We need to go back to 4:3. I just want to see peoples feet. Is that too much to ask. I want the entire body on my screen. 

 

So back to the good things. Maria Zegler is a fucking revelation. From the very first note, I was just sold. She’s she’s everything. She is just so good. I am really excited for snow white. I am really excited for whatever she has next. Same thing with Ariana DeBose. Absolute stand out for me. A Boy Like That / I Have A Love was Easily the best musical number of the movie. Such intensity. Perfectly acted. Just… soo good soo good soo good. 

 

The other musical number I thought the improved was Cool. That I thought was the one real improvement in terms of the actual musical itself. I love the dance fight choreography. If we had gotten that for the entire movie, I would probably be like this is the best movie musical ever.

 

And then there is Ansel. Who is just a wet blanket. He sings great. He dances good. He also looks really old. And it is kind of creepy knowing what I know about him, because she looks so young. I think this also shows that Tony and Maria have always been the weak link of the west side story. They did such a good job with developing the character motivations of everyone else, that I don’t necessarily buy into her being like it’s fine that you killed my brother I’m still gonna run away with you. I mean I never really bought into it anyway, but in this version I really don’t buy into it.

 

so I don’t know I’m just rambling at this point. I’m kind of rambling through my thoughts on this to Siri. So ultimately I think I like it. I’m very glad it exists. I think it’s a solid movie. I think it looks great.

 

But the choreography!!!

 

Larry David Reaction GIF

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On 12/24/2021 at 11:00 AM, Cap said:

We need to go back to 4:3. I just want to see peoples feet. Is that too much to ask. I want the entire body on my screen. 

I agree with this for more than just musical. I don't think enough people appreciate the verticality 4:3 offers (too many people focus on the black bars to the sides instead).

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A

 

Perfectly cast, coupled with stellar acting. Everything else was top-notch as well, from the choreography to cinematography. West Side Story is an excellent example of why remakes are not always bad things and can even represent new or better takes on the source material. Another feather in Spielberg's cap.

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It is B level movie for me. The thing that should work great, i.e. the love story between two lead, turns out to be the weakest aspect of the film. I enjoy the social commentary more than the love story. The lack of chemistry and defining moment between two leads really drag down the film overall. Other than that, the direction is great and you can feel the passionate of Spielberg in the project.    

 

Still, the last movie I really admire from Spielberg was Munich, and sadly WSS isn't changing the course here. Maybe I just lost connection to Spielberg.  

Edited by titanic2187
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