West Side Story: More Like West Side Snorey, Amirite?
West Side Story (2021)
Directed by Steven Spielberg
Starring Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez and Rita Moreno
Maybe remakes aren’t a soulless Hollywood cash grab after all? Guillermo del Toro’s remake of Nightmare Alley (1947) was one of my favorite films of 2021 so why couldn’t another master director competently blend nostalgia and modern craftsmanship to recreate a classic? Before we answer that question, I need to remind you that del Toro chose a film considered one of the top 50 noir films of all time. Audaciously, Steven Spielberg chose Westside Story—one of the top five musicals of all time.
The original West Side Story (1961) was a major hit that won an astounding 10 Academy Awards, including Best Picture. The film also garnered Oscars for both supporting roles. Natalie Wood’s turn as Maria would now be considered “Brown Face,” but seldom is this said about George Chakiris, Oscar winner for best supporting actor. I guess being the son of Greek immigrants gave Bernardo a pass whereas Wood, an American actress of Russian and Ukrainian descent, was too much of a stretch.
Thankfully, Spielberg worked with actors who more accurately represent the roles they were hired to play. As Maria, he cast young Rachel Zegler, an actress of Colombian descent in her first film role. Also in his first film, David Alverez plays Bernardo. Both did well in their acting debuts and incredibly well as singers and dancers. The rest of the cast was equally strong — especially Ansel Elgort of Baby Driver (2017) fame as Tony. As a nod to the amazing original film, Oscar winning actress Rita Moreno was cast again. She’s in a different role this time, but still gets a song. And, at 91, she crushes it!
Visually, this West Side Story is a feast thanks to amazing lighting and set pieces. Spielberg’s first attempt at a musical is a grand one and, with a 100-million-dollar budget, it should be. The film serves as a showcase of technical advancement with dark, alleyway tones coexisting with the bright lights of the lampposts in a way that would have been almost impossible to do in 1961, especially with the clarity of movement as the actors dodge in and out of shadows.
In the end, none of the money spent or well-choreographed dancing matters. This is a film that didn’t need a remake. It would have been amazing to see Spielberg work with some new writers to create a new musical to inspire future generations instead of relying on tweaking the past to fit his comfort zone.
Who am I to critique the almighty Spielberg, you may ask? Just a guy who bought a ticket and wished he had exchanged it for a ticket to a new and original musical like recent standouts Tick Tick Boom (2021), Annette (2021) and The Greatest Showman (2017). If all three of those were A’s, then Spielberg’s first attempt at a musical is a C.
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