by Arthur Cola
West Side Story Rebooted -2021
By Arthur Cola
Years ago when I was a lad like Stephen Spielberg I watched West Side Story on the big screen, only for me it was in one of those long gone Chicago Movie Palaces. Yesterday I went to the pre-premier showing of the musical which ranks with “Singing in the Rain” and “The Sound of Music” for me as an all-time great musical.
The music of Leonard Bernstein and the lyrics of Stephen Sondheim as the credits rolled held the power and gave the chills as they did in the original version. With anxious anticipation I waited in the Ultra-Screen theater of Marcus Cinema practically alone as there were only five people at that showing. The sights of New York where given a twist by Spielberg as the setting was placed in the area of New York City which was being torn down to create the new Lincoln Center for the Performing Arts back in the late 1950’s. There the Jets run by Riff were trying to hold onto the last vestige of their territory as they saw it while the Sharks run by Bernardo saw that neighborhood as their own. Two cultures were colliding, one of European ancestry and the other from the American Territory of Puerto Rico. That clash of ethnicity is as relevant today as it was back in the 50’s and Spielberg handled it well.
The challenge of any reboot especially of such a classic which in itself came from what is arguably the most profound and moving love story of all time, Romeo and Juliet by William Shakespeare, is to create something which will stand the test of time and impact the viewer of today in a way which creates dialogue and excitement. Did Spielberg accomplish that level of intensity and relevancy in a nation ripped apart by a similar type of division? Will the young people of this 21st Century go and see this film?
Let me address the first question. And to do so we must look at the cast and how they portrayed their characters. We must begin with the Jets and Riff. Their emotional attachment to the neighborhood is felt as they sing and dance down the rubble filled streets. Unfortunately when one compares the 2021 Riff to Russ Tamblyn’s Riff of the original film there is something missing. I think it was the athleticism in Tamblyn’s dance. Despite that slight flaw the Jets pulled off who they were as people seeing what was once their turf now being taken over by outsiders as they saw it. I particularly saw a remarkable improvement in casting for the part of Baby John (Patrick Higgins) who really gave a feel to the role of a young guy not quite as tough and certainly not into fighting. When the Sharks attack him that scene was powerful and made one gasp in the realism of it. Those Sharks are led by Bernardo (David Alvarez) who is depicted exactly opposite of what the original Bernardo (George Chakaris) portrayed. He is a boxer and not elegant. His dancing is not as refined but it is very Latin. He is the man of the family and protective of his little sister, Maria and that comes through loud and clear in both versions. In Spielberg’s version Bernardo chooses a non-gang member, a shy boy Chino who is played by Josh Andres Rivera with intensity and develops the character to a greater depth than in the original version.
Spielberg has now set the stage for that moment in which love strikes and turns the world of Maria (Rachel Zegler) upside down as she views from across the gym floor Riff’s BFF, Tony (Ansel Elgort). The dance sequence raises the confrontation which is sure to come. It holds up just as well as in the original version and in one respect, when Tony and Maria meet behind the bleachers surpasses it. That moment in which love transcends all boundaries and traditions, is beautifully played by Ansel (Tony) and Rachel (Maria). These two young actors were wise choices for Cindy Tolan who was in charge of casting. Ansel Elgort is far superior to the original Tony in both depth of emotional portrayal and singing. He should receive an Academy Nomination but we all know that probably isn’t in the cards in today’s Hollywood. But there is hope for Rachel Zegler whose voice is lovely and who portrays a strong Maria hopelessly in love with her brother’s enemy. When Tony and Maria enter the Cloisters, which was a creatively genius change from the original film there is such an elevation in spirituality and love that I thought of my grandchildren and how they should all see this film just to see how love can be tender and endearing, passionate yet sacred.
But all comes crashing down as the fight between the Jets and the Sharks cannot be avoided. And it all begins in Doc’s Drug Store but in this version he is dead and his widow, Valentina, who is a Puerto Rican and considered a betrayer of her people because she married a Gringo. Rita Moreno who was Anita in the original version of West Side Story plays that part and for her I see an Oscar repeat. She gives humanity to Tony and motherly guidance to both Sharks and Jets alike. And she sings, what more can you ask? And we are shown a back story for Tony this time around one in which she guides him from prison release to a future with hope.
Speaking of Anita (Bernardo’s girlfriend and would-be wife), the new version with Ariana De Bose in the role was grandly performed. She held up the candle as it were, and took on Moreno’s role with her in the film with a bright version and strong performance. If your heart doesn’t pump faster in that “America” song and dance number than perhaps you should check your pulse. What an amazing scene that was; performed, not on a roof top but in the streets of New York City amidst the destruction surrounding them. That scene depicted a message of hope in the American dream fighting the idyllic fantasy of a non-existent culture.
From that exuberant number to the iconic fire escape balcony scene in the tenement housing of the day your pumping heart slows down as the two young people love struck beyond belief make plans for their future. As Tony takes you from singing “Maria” you truly believe that it is the most beautiful name in all the world; but when they break into “Tonight” these young actors are able to bring you onto those iron fire escapes and into their emotions. Spielberg maintains the Broadway-ish feeling in that scene with camera angles and close-ups which once again demonstrate that movies are magical.
But we all know the story of Romeo and Juliet; don’t we? From those songs of Love and commitment we are taken to that same set as Tony climbs into Maria’s bedroom window bloodied and devastated. That scene not held under the highway but in the Department of Sanitation’s winter salt shed gives stark reality to the battle between Riff and Bernardo into which Tony thrusts himself to stop the bloodshed only to cause more to be spilled. The salt dust fills the air as the fight begins. That use of dust and even of water by Spielberg is also a departure from the original film. It adds the reality of where these young people are; that being amongst the broken pipelines, flooded streets, the rain, and the winter salt mounds. These are used to bring a sense of realism to the choreography.
In an emotional and captivating set of scenes which takes the viewer from Maria being torn between her love for Tony and horror of learning of her brother’s death, to Anita’s entering the Drug Store to help Maria and Tony set up their meeting to escape the hell of what had just happened our emotions are torn asunder as we root for the lovers and express horror of what happens in that Drug Store. Valentina says it best, as she tells the Jets that they have dishonored their people. It makes one think if more of us thought about how we honor our people, such division may be easier to heal.
All of this takes us to that final scene of love lost and found and lost once again. The gun is the key player set up in another departure from the original film. Ansel Elgort as Tony takes you down the street filled with decay and destruction, his world is destroyed just as his neighborhood is. This stark scene tugs at your heart and if you don’t feel his pain then once again you should take your pulse. He begs for Chino to come and kill him. His call is answered just as Maria appears bringing hope which in an instant is blown away as two shots are fired. If you saw the original film, it is here that you see Natalie Wood’s Maria bring the audience to the edge of tears and so too does Rachel Zegler’s Maria. Nothing is more horrific and yet tender as when the Jets and Sharks take up the body of Tony onto their shoulders and carry him off as Maria follows alone in her grief and Valentina takes the gun from Chino while guiding him not to the drug store but to the arriving police. Then once again the music of Leonard Bernstein uplifts your soul and carries you in its embrace as Tony does to Maria in the movie poster on the theater wall.
The Reboot of “West Side Story” is another feather in the cap of Stephen Spielberg. He has managed in using young and accomplished actors and a veteran from the original film to make its story as relevant today as it was in the 1950’s. It is my hope that the young people of today will go see this film and learn from its message.