West Side Story reviews

[Big Magilla]

Some perspective on the '61 version from another site:

The ‘61 film had a very slow release. It opened in October 1961 on just one screen: the Rivoli in NYC. That was the only theater anywhere running West Side Story until November when roadshow engagements opened in Boston, Philadelphia and Washington, On December 13 it opened at Grauman’s Chinese in Hollywood, followed by Miami Beach and San Francisco. In February 1962 Baltimore, Detroit, Montreal and other cities got their roadshow engagements. In some cities the roadshow engagements packed them in for so long that wide releases were delayed until 1963. For instance, by the end of October 1961, the Rivoli had sold out the screenings through the following April. In some cities it played for well over a year. In Paris the original engagement played for 5 years. It was a juggernaut that just kept packing them in even as they added more screens throughout 1962 and 1963.

And alongside the film, the soundtrack LP was a massive seller throughout 1962-63. It still holds the record for the album that spent the most weeks at #1. 54 weeks as the #1 album in America. A record that likely won’t ever be broken as the #2 album is Michael Jackson’s “Thriller” at a mere 37 weeks at #1.

[Big Magilla]

Still haven't seen it, but I have listened to the soundtrack.

Ansel Elgort should have been dubbed. His singing is as bad as Ryan Gosling's in La La Land, if not worse. Jimmy Bryant, who dubbed Richard Beymer, is still alive and would probably still sound better at 92.

Elgort is especially glaring up against Rachel Zegler, Ariana DeBose, David Alvarez, and Mike Faist, all of whom are trained singers. Zegler and Alvarez are especially good.

Spielberg's version doesn't strictly follow the song order from the original production. The 1961 version transposed Gee, Officer Krupke and Cool with Krupke coming before the rumble and Cool after. In the new version, they both come before.

I do think having I Feel Pretty sung after the rumble gives it an added poignancy. Sung before, as in the earlier film, it has a sense of foreboding. Sung after, it's heartbreaking.

Not sure I agree with having Rita Moreno sing Somewhere. It was nice that Spielberg did that for her, but her singing voice is a bit thin and having that character sing it will mean nothing to youngsters who haven't seen her in the original.

[Sabin]

Probably the best film I've ever seen that I don't need. I agree with Owen Gleiberman that whatever moment demanded a remake of West Side Story it's not right now. It's somewhere between 2015-2017. Regardless, watching Steven Spielberg direct a musical is an incredible thing. This is a beautiful piece of filmmaking but it never quite swept me away. I was always just a bit watching it from afar and I can think of a few reasons why. Ansel Egort is even blanded than Richard Beymer. Some of Spielberg's decisions are a bit distractingly beautiful. But overall, I'm inclined to say that the tinkering hasn't helped it. West Side Story is a play that generally benefits from boiling blood, not nuanced takes, and this West Side Story wants to tackle a few too many outside ideas, which may not seem like a bad idea but little by little mellow the tensions a bit. Is it correct to make a West Side Story address gentrification head on? Sure! But the original is primed to explode because it believes narrow-mindedly in people overcoming racial divides to come together, which we learn through tragedy, and that's it. It's not a bad thing but it's a slightly less powerful thing.

What works about the new one: the gorgeousness of Spielberg's direction (as well as cinematography, production design, costumes), Mike Faist who is just an exceptional Riff, Rachel Zelger who is an instant goddamn star, moving "Cool" to before the rumble. The other song movements are less inspired. Shifting "I Feel Pretty" to after the rumble feels perverse, I don't care if that's how it was on the big stage. Anyway, for the filmmaking alone, it's a must-see. I also don't need it and wasn't as moved as I wanted to be, which caused me to analyze why throughout.

[criddic3]

Has there been a movie released this year that had as much enthusiasm going into a week and less coming out of it? Going into the weekend, it was the movie destined to save movies. It's leaving the theaters with the stink of failure on it like no movie since... oh! In the Heights. I'm still looking forward to seeing it but everyone I know who has seen it says the same thing: "It looks great but I didn't love it."

West Side Story is not leaving theaters this week. It's contractually booked through the holidays at the theaters that opened it. It still has time to build...or not.

I think the biggest reason for its disappointing opening weekend was that its natural older audience was in no rush to see it, though it's probably one of the films on their agenda.

Traditionally, the weeks between Thanksgiving and Christmas are busy times for older people. Going to the movies has never been at the top of their agenda during this period. It was a stupid time to open it, especially, as others have said, without a proper build-up. What everyone wants to know about a musical is how well are the songs performed? The trailers provided little indication. Disney doesn't know what to do with the films it inherited from Fox. It's as simple as that.

Why are older audiences are going to see House of Gucci in larger numbers? Maybe because that one's giving them something they haven't seen before whereas they know what to expect from West Side Story, which they will see when they get around to it if Disney doesn't bury it altogether.

My sister and I took my 94-year-old grandmother to see the film, and we all loved it!
I continue to think this "exclusively in theaters!" mantra being used for some recent releases is a foolish gamble. Sure, "In the Heights" did a simultaneous release and that didn't work, but I really don't think -to your point- that older audiences are in a rush with Covid still out there and holidays coming. Also, there may the feeling of "we've seen this movie before." That's an unfair assumption, given that Spielberg's version is a different movie and not merely a retread, but understandable given the popularity of the 1961 film.

[Big Magilla]

Has there been a movie released this year that had as much enthusiasm going into a week and less coming out of it? Going into the weekend, it was the movie destined to save movies. It's leaving the theaters with the stink of failure on it like no movie since... oh! In the Heights. I'm still looking forward to seeing it but everyone I know who has seen it says the same thing: "It looks great but I didn't love it."

West Side Story is not leaving theaters this week. It's contractually booked through the holidays at the theaters that opened it. It still has time to build...or not.

I think the biggest reason for its disappointing opening weekend was that its natural older audience was in no rush to see it, though it's probably one of the films on their agenda.

Traditionally, the weeks between Thanksgiving and Christmas are busy times for older people. Going to the movies has never been at the top of their agenda during this period. It was a stupid time to open it, especially, as others have said, without a proper build-up. What everyone wants to know about a musical is how well are the songs performed? The trailers provided little indication. Disney doesn't know what to do with the films it inherited from Fox. It's as simple as that.

Why are older audiences are going to see House of Gucci in larger numbers? Maybe because that one's giving them something they haven't seen before whereas they know what to expect from West Side Story, which they will see when they get around to it if Disney doesn't bury it altogether.

[Sabin]

Has there been a movie released this year that had as much enthusiasm going into a week and less coming out of it? Going into the weekend, it was the movie destined to save movies. It's leaving the theaters with the stink of failure on it like no movie since... oh! In the Heights. I'm still looking forward to seeing it but everyone I know who has seen it says the same thing: "It looks great but I didn't love it."

Owen Gleiberman wrote a few thoughts on the underperformance of the film. I like his take. It's not that Gen Z isn't interested in musicals. It's that maybe nobody really wanted this story right now.

https://variety.com/2021/film/columns/w ... 235131407/

[Okri]

Honestly, I liked it about as much as the original, but I don't disagree that it feels a little less than the some of its parts. I haven't seen it on stage, fwiw.

Lot more lens flares then strictly necessary. The ending still doesn't work. Thought "Cool" was actually full on amazing and might be the highlight, alongside "Tonight/Quintet." I genuinely liked the expansion of the Valentina (nee Doc) role - giving her "Somewhere" is a legit baller move. In general, I responded positively to Kushner's adaptation work.

[danfrank]

The new West Side Story is good, not great. Of course the production values are outstanding, It is visually lush with great cinematography, sets, and costumes. Spielberg and Kushner have kept the frame—and of course music—of this very simple and rather silly story and very much put their own stamp on it.

Of course West Side Story’s strengths were never about the story and were all about the magnificent music and choreography. Kushner tries to fill out the story and adds lots of dialog and plot points, so much that it drags things out. I kept feeling antsy for the next musical number to start. The set pieces and new settings (e.g., using the Cloisters for Tony and Maria’s faux wedding vows) for the numbers are creative and mostly work. The creators here also mix it up a bit in the musical numbers with who sings what. You can’t help comparing each number to its match on the original film. “America” is terrific here, “Officer Krupke” not nearly as good as in the original. The choreography is very good, but can’t quite match the genius of Jerome Robbins.

The performances are mostly pretty terrific, especially Rachel Zegler (gorgeous voice!), Ariana Debose, David Alvarez, and Mike Faist. Do I think that any of them deserve to be nominated? Not really. Maybe Faist in a weak year. I wish Spielberg had cast a different actor as Tony. Elgort’s earnest acting is good enough, and his singing isn’t terrible, but this movie would have been greatly enhanced by a Broadway-type actor with a gorgeous voice. It’s not like Ansel Elgort is some bankable big star. His dancing in “Cool” is clumsy and really brings down what should be a great number. Rita Moreno has a much bigger part than I had imagined. I think her presence would have had more impact in a smaller role.

I was thinking about Tee’s assertion that there really isn’t a need to re-make a movie that was already good. It’s likely that there are millions of people who will see this movie that would never bother to see the original, thus bringing this material a new audience. So that’s a point in its favor. A huge point in this version’s favor is that it rights the wrong of the original’s casting and portrayal of the Puerto Rican characters. I really liked the use of Spanish (and Spanglish) and the more balanced point of view. In the end, though, i wasn’t particularly moved by this version, sort of like the whole was lesser than its parts. I plan to go back and watch the original, and perhaps watch this one again for better analysis.

[Sabin]

Very positive review from Owen Gleiberman who makes some interesting observations about both versions. Looks like a hit.

https://variety.com/2021/film/reviews/w ... 235122664/

[Reza]

I actually rewatched the '61 film this past month to refresh myself and while I really do enjoy it, I'm also not of the opinion it's a sacred cow beyond remaking. I actually think Wood is rather bad in it (like refrain-from-fast-forwarding bad) - though I like Beymer, so go figure.

No doubt Wood's casting (and performance) IS problematic but overall it is a magnificent production. I too saw it recently after 40 years and was shocked how much I not only enjoyed it but how brilliant it is on the technical front. I'm one of the few of the opinion that there was no need for a remake ESPECIALLY if a director of Spielberg's caliber was wanting to make a musical. He should have preferebly gone for a musical not adapted for the big screen yet (Sunset Blvd?). It seems this was purely a personal vanity project for him maybe wanting to prove he could do better. From the trailer it looks so much like the original that one wonders why make it again. Yeah they shifted the order of a song. Big effing deal.

And yes Richard Beymer is very good in the original.

[Okri]

I actually rewatched the '61 film this past month to refresh myself and while I really do enjoy it, I'm also not of the opinion it's a sacred cow beyond remaking. I actually think Wood is rather bad in it (like refrain-from-fast-forwarding bad) - though I like Beymer, so go figure.

[flipp525]

I meant “hopeful” more in the story of young love, albeit tragic young love. The Power of the Dog offers some slightly different, darker themes.

I could be totally off too.

[Greg]

I haven’t seen West Side Story or Belfast yet. But having seen The Power of the Dog, I think it might be too fucked up and dark to take the top prize in the times we currently live in (although, I did really like it quite a bit). Something more hopeful feels more in line with the current zeitgeist perhaps.

I'm curious if they were able to make this West Side Story come across as hopeful, considering that two of the characters die. The 1961 West Side Story struck me as being quite melancholy.

[flipp525]

And I do think Broadway has come to rely way too heavily on bringing back the old war horses. It seems we never go more than a few years without another Death of a Salesman/Virginia Woolf/Raisin in the Sun (or, on the musical side, The King and I/Gypsy/Fiddler on the Roof). Broadway is already overloaded with Disney transfers and shows that will apparently never close; it's hard for me to work up the slightest excitement over another show I saw long ago being resurrected one more time.

I agree. I had the opportunity to see the remounting of Slave Play at the August Wilson Theater this past weekend and was so taken with the freshness of the whole thing. I felt like I was watching something very much alive that, although relies on the vestiges of the past, very much brings the story into the present moment in a very immediate, necessary way. (I obviously enjoyed the play quite a bit and will never quite be able to enjoy Rihanna’s song “Work” in the same way again.)

[Sabin]

Greg wrote
Does anyone think that it is now possible for West Side Story to substantially outperform our expectations with its number of nominations, and, in what categories? I have to say, Oscar nominee Ansel Elgort has a very strange sound to me.

I think it could end up being the nomination leader as well as possibly receive nominations in every category that previous film was in, save for Best Scoring of a Musical but maybe Best Visual Effects for its use of set extension and creation. We shall see.