20th Century Studios presents West Side Story in UK cinemas now.
Review
60 years ago, in 1961, West Side Story was released in cinemas to rave reviews. It was the highest-grossing film of 1961 and it won 10 Academy Awards (from 11 nominations). So, when it was first announced that Steven Spielberg would be reviving it, there was a tight breath in from lovers of the 1961 musical. Now, after some delays due to COVID, everyone can let out a big sigh of relief. 2021’s West Side Story is good. Better than good even; it’s one of the best of the year.
Legendary director Steven Spielberg brings his A-game here. His direction is not only typically phenomenal but surpasses Robbins and Wise’s direction from 1961. The camera movements are so fluid and feel balletic which matches perfectly with Justin Peck’s choreography. Only Spielberg and cinematographer Janusz Kamiński could make a shot of Tony in a puddle one of the most breath-taking frames you’ll see this year.
This version seems to be more grounded in reality, which is a product of the times. In the 1961 version, when Tony and Maria first meet, the world around them disappears and fades into black as they dance together. In this one, Tony and Maria’ first meeting isn’t so fantastical; they hide behind the bleachers in the gym, and they dance much less and talk more. Although during these dream-like sequences where the original opted to lean into the fantasy elements, Spielberg opts for a slight switch in colour-grading and drastic lighting changes.
The acting all around is wonderful, too. Rachel Zegler’s debut performance as Maria is magnificent. It’s difficult to believe this is her first time. Her acting, dancing, singing is spectacular. She is a true triple threat and will eventually be one of the biggest stars in the world. Although Tony, played by Ansel Elgort, who has several sexual misconduct allegations against him and yet has been pushed to the forefront of the marketing campaign anyway, is not as magnificent. His performance feels wooden, his dancing is lacklustre, and his singing is easily the weakest. It’s odd that, in a film full of performers with few or no film credits, the one actor who is experienced at leading big romance films, is the weakest link. Elgort’s chemistry with Zegler is almost missing entirely. The person who steals the show, though, is Ariana DeBose as Anita. Partly due to the incredible writing for Anita as a character (Rita Morena took home an Oscar for playing Anita in 1961), DeBose’s performance is thunderous, captivating, and magnetic. She steals every scene she is in, and your eyes will be drawn to her every time she appears.
Spielberg’s West Side Story and 1961’s West Side Story are not really comparable, despite being the same story. The two films have different objectives and different approaches. The new film wants to be more real and tackle social issues head-on. Whereas the older version is like a fantasy, where the social issues are definitely there and explored a lot for a film from the 60s, though they certainly exist on the periphery of the story compared to this. The original wants to be more charming and fun, the new one wants to be more serious. Both these approaches work beautifully.
Verdict
Overall, Spielberg has done the impossible. West Side Story (1961) is one of the greatest films ever made and is certainly in the conversation as the greatest musical ever made. Remaking it is like remaking Citizen Kane, it is a feat so daring and near impossible that no one would. And yet Spielberg did. And only Spielberg could have done. So many directors could have made a new West Side Story and it would have turned out to be an embarrassing failure. Spielberg took it and, while not necessarily improving it, he made it his own and made it distinctive. He made it a success, and that is the highest praise.
⭐⭐⭐⭐
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