Before this film came out, I was rather mixed on the idea of it. For all its faults, the original film is seminal for a reason, and remaking it seemed like a dicey proposition. On the other hand, only one major Puerto Rican character in the original film was played by a Latina, and they darkened her skin to make her “look more Puerto Rican.” So, obvious room for improvement there. Now that I’ve finally been able to see it, let’s look at the sixth Best Picture nominee.
The Jets, a gang of working-class white boys from a dead-end neighborhood, feud with a gang of recent Puerto Rican transplants called the Sharks. All their homes are set to be demolished for “slum clearance,” but both groups war over turf anyway. When a former Jets lieutenant named Tony meets Maria, the sister of the Sharks’ leader, the two are immediately drawn to each other, but their star-crossed romance makes the already-high tempers on both sides flare.
It’s probably not a surprise that Oscar-nominated director Steven Spielberg capably steers this remake, a tragic musical romance shot in washed-out colors and set amid the rubble of a neighborhood that’s already in the process of being torn down. It has a lot of old-fashioned musical flair, and it respects the scenes, flourishes, and moments that are indelibly West Side Story—the snapping, Maria’s white dress, the fire escape. But at the same time, it doesn’t feel bygone or stale. The gangs roam the streets with a pulsing energy, and when they clash, they fight rather than dance. Some iconic numbers, like “America,” “Gee, Officer Krupke,” and “Somewhere,” are staged in different locations or contexts, and while I doubt I’m going to get my memories of the original out of my head anytime soon, the reimaginings work well. The film also got a Best Cinematography nod, surely in no small part because it recognizes how to properly capture musical numbers on film. The big ensemble numbers with lots of dancing never get muddled, and the duets and solos are suitably intimate.
But as good as Spielberg’s directing is, my behind-the-camera MVP needs to be Tony Kushner for his screenplay, which I think absolutely should have gotten nominated. While his reworking of the story doesn’t quite go for the full David Henry Hwang’s Flower Drum Song, it recontextualizes so much and improves the narrative in countless large and small ways. As I said, the impending demolition of the very neighborhood the Jets and Sharks are fighting over makes their rumbling even more futile, two gangs of nobodies battling over scraps while those in power order their homes torn down. Tony’s backstory adds to his character, Maria has more fight and ambition in her, and I love the extra scenes devoted to Maria, Bernardo, and Anita’s home life. Not to mention, the film really fleshes out the characters of Chino and Anybodys in excellent ways. Swapping out Doc with his widow, Valentina, is mainly an excuse to involve Rita Moreno is a major way and wasn’t strictly necessary, but the story makes it work.
On to the acting. Even without the allegations against Ansel Elgort, his performance as Tony would be the weak link for me. His singing is just fine, and I don’t feel much emotion from him until the end. However, Rachel Zegler is wonderful as Maria, young and hopeful but also bright and strong. Her singing is utterly lovely, and I’m glad to have the opportunity to hear her sing “Tonight.” As is usual, though, for West Side Story, it’s the supporting characters who really pop. Mike Faist commands the screen as an agitated, nihilistic Riff. He’s less jocular than other versions of the character, but you get why the Jets would follow him, as well as why Tony would still be so devoted to him. Best Supporting Actress nominee Ariana DeBose is a force to be reckoned with as Anita. She’s sly, fiery, and big-hearted, and ferocious when the story demands it. Her dancing is fabulous. She’s well-matched by David Alvarez’s electrifying Bernardo. He’s hot-headed and can be domineering, but Alvarez also plays the role with heart and dignity, and he and DeBose light up the screen together. I want to give further shoutouts to Josh AndrĂ©s Rivera as Chino, Iris Menas as Anybodys, and Rita Moreno as Valentina—whether the character was needed or not, she’s still got it.
Warnings
Violence (including attempted rape,) light sexual content, drinking/smoking, language (including racial slurs,) strong thematic elements, and involvement by an alleged sexual predator.
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