Review of West Side Story (2021) by Markhreviews — 28 Dec 2021

As many already know, when creating “West Side Story,” Writer Arthur Laurents re-set Shakespeare’s “Romeo and Juliet” in mid-1950s New York City, substituting two gangs, the white Jets and the Puerto Rican Sharks, for the Montagues and Capulets of Renaissance-era Verona. Tony, a former Jet, meets Maria, whose brother heads the Sharks, at a school dance. They fall in love, despite the misgivings of everyone around them. Even with some serious flaws, the 1961 film version of this story is firmly established in the canon of American film, winning 10 Oscars, including Best Picture.

When reimagining this classic, Director Steven Spielberg has improved upon the original in some ways, while regressing in others. First, the good stuff. The casting here is considerably less painful than the original. In 1961, the female lead of Maria, a Puerto Rican, was played by Natalie Wood, who was not well known for her ethnic diversity. In her breakout role as Anita, Rita Moreno (who actually is Puerto Rican) was required to darken her skin to look more “authentic.” Bernardo, the leader of the Puerto Rican gang, was played by Greek actor George Chikaris. So there was plenty of room for improvement, given today’s expectations.

For this film, Spielberg selected a cast of relative newcomers who allow this re-telling to focus on the story, since the audience is not distracted by a series of star turns by Hollywood A-listers (that’s right “La La Land”). And what a cast he’s selected. Rachel Zegler, in her first feature film, is splendid as a melodious, magnetic Maria. Broadway veteran Ariana DeBose (“Pippin,” “Hamilton”) is fabulous as Anita. Spielberg’s casting of non-binary actor Iris Menas as Anybodys adds additional interest to a minor role. The selection of members of the ensemble is equally inspired.

Spielberg and Writer Tony Kushner (“Angels in America,” “Lincoln”) also created a new role for Rita Moreno, who played Anita in the 1961 film. In this version, she is Valentina, the widowed owner of Doc’s Drugstore and the conscience of the piece. Appropriating the song “Somewhere” for Moreno is the most creative and inspired moment in the film.

Cinematographer Janusz Kaminski (“Schindler’s List,” “Saving Private Ryan”), a frequent collaborator with Spielberg, gives this film some unique perspectives, with a series of wide-angle shots, swooping aerial perspectives and extreme close-ups. His use of color and shadow are visually much more interesting than the 1961 film, which was hampered by the limitations of the heavy, bulky film cameras of the day.

Two things don’t work. First, the back stories and explanations created by Spielberg and Kushner for some characters are clunky and unnecessary. Do we really need to know how Tony first became aware of The Cloisters, where he takes Maria on their first date? It all feels a little too packaged, a little too neat. Second, Ansel Elgort (“Baby Driver,” the “Divergent” series) as Maria’s love interest, Tony, feels miscast. Although his smooth tenor and clear falsetto contribute strongly to the musical numbers, Elgort’s character simply doesn’t have the can’t-look-away magnetism of Zegler, DeBose or David Alvarez (Bernardo).

Spielberg’s “West Side Story” is a handsome film that reveals expert craftsmanship at every turn. Sixty years from now, will it be viewed with the reverence of the original stage play and film? Not so much.