I watched the movie off a screener not on a gigantic theater screen. The only way to get the full effect of the film is to see it at a theater.
Practically every review has been rapturous. And not just from critics. Friends of mine whose opinions I really trust think it’s a masterpiece.
The fact that it was a box-office bomb speaks to lack of interest and the fact that the target audience didn’t want to risk COVID. Hey, I’m not ready to go back to the Cineplex anytime soon. Not that I would anyway to see such current fare as THE 355 and SING 2.
End of disclaimers.
I certainly liked WEST SIDE STORY. And it’s enthralling to watch Spielberg’s direction. Every shot is meticulous. Every shot is interesting. Visually the movie is eye-popping. On the big screen it must’ve been dazzling. The man is a master behind the camera.
And then there’s the score and those songs. Iconic. Thrilling. Timeless. I think this is the only movie where I stayed for the entire end credit sequence because they played the overture and it was heaven to have that music just wash over me.
In subject matter, WEST SIDE STORY was somewhat similar to IN THE HEIGHTS — the plight of immigrants in New York City. They were also similar in that it was subject matter no one apparently wanted to see. For my money, however, WEST SIDE STORY was better in every single way.
So if you’re curious, or waiting till it streams, I certainly recommend it.
It’s just that… well… I had some problems.
But in fairness, some of them were the same problems I had with the original 1961 movie. Vicious street gangs dancing just seems weird. Not so much on the stage because it’s so stylized. But when they’re dancing on real (or CGI’d) streets, you start to question the reality and tone. Then later, during the rumble, the action gets very real and visceral. So who are these guys? Broadway theatre kids or an ugly mob? I don’t know how they could be both.
And then there’s a story turn — that goes all the way back to the original. I’m going to say SPOILER ALERT if you’ve never seen any version of WEST SIDE STORY. Skip this paragraph. But it’s the same plot point that’s always been. Tony kills Bernardo. Maria hears about it and is understandably devastated. Especially when she hears that Tony was the killer. Tony arrives and somehow, within three minutes, she’s back on board with the love affair. WTF? The guy kills her brother that same night, but y’know, the heart wants what the heart wants. I was curious to see if Tony Kushner, the screenwriter of the new adaptation (and one of the finest writers on the planet), could somehow justify that, but he couldn’t — at least for me. But I don’t think any screenwriter could. It’s one of those plot points where characters do things they would never do because the writer needed them to for their narrative. So from that point, in every production I see, the spell is broken. And I know I’m supposed to be heartbroken at the end, but I just feel manipulated.
By the way, the turf war of San Juan Hill (where it was set) — in actual fact was predominately a black neighborhood. So much for reality.
My last problem may just be a personal thing. You might disagree. But I thought Ansel Elgort was weak as Tony. His voice is somewhat thin so none of his songs really soared. Rachel Zegler blew him away in every duet they had. Nor does he have much presence. We’re supposed to believe that this guy is dangerous and has a real temper? He’s a sweetie. And the year in prison sure didn’t seem to harden Tony at all. He appeared more comfortable on Sesame Street than the Mean Streets. So when you have a weak lead that takes away from the film. Again, you might disagree.
The rest of the cast was fine. Rachel Zegler apparently beat out 29,999 other hopefuls (there was an open casting call. You probably tried out)
. She was very good but to emerge victorious over 30,000 contenders you’d expect Barbra Streisand, Maria Callas, and Meryl Streep all rolled into one. She was a young Anne Hathaway. And to be fair, it’s not a role with tremendous depth. Especially when a character can forgive her lover for killing her brother in three minutes.
Here’s my final thought: The original 1961 movie was a monster hit but had its faults (as much as you know I love Natalie Wood, she was woefully miscast as Maria). Spielberg spent $100,000,000 to adapt it. So the one question you have to ask is: Did he make it better? I don’t think he did. For a hundred million, that’s not a good answer.
from By Ken Levine
Comments
Post a Comment