'West Side Story' Review: In Dabbling in Nostalgia, Spielberg has Rediscovered his Cinematic Magic
The ensemble of West Side Story
In remaking an all-time classic, Steven Spielberg is able to recapture everything that makes him so special and deliver an entertaining musical.
There is truly something special about experiencing the magic of filmmaking that only Steven Spielberg can create. For many of us, Spielberg crafted our childhoods, crafting characters and worlds that would shape the fabric of every modern moviegoer. But over the last couple of films, the magic has seemed to disappear, with Spielberg focusing on two sets of film, the standard, safe political biopics about people being good at their jobs with Bridge of Spies and The Post, or the disposable, unimaginative big-budget properties like The BFG and Ready Player One. Thus when the news broke out that he would be filming a remake of the classic musical ‘West Side Story’, many, including myself, thought he was nuts. The original 1961 film is not only a previous Best Picture winner but is considered to be one of the greatest musicals of all time and something that should never be remade. It’s unfathomable to do this, and yet Spielberg did, and his result is the best film he has done in close to twenty years.
Rita Moreno and Ansel Elgort in West Side Story
In West Side Story, we met the Jets, led by Riff (Mike Faist), who are at odds with the Sharks, who are led by Bernardo (David Alvarez). The reason for this conflict is more than just two sets of young boys not getting along, it’s deep racial tensions that divide these groups. The Sharks, consisting of Puerto Ricans, are coming into New York City every single day, looking for their place in this vast melting pot called America, and the Jets believe they are taking the home they’ve lived in all their lives. It’s vicious anger set behind the gorgeous, rough backdrop of 1950s New York City, yet feels so relevant to the racial issues that continue to plague our country today. For this, Riff believes that the Jets have only one option before their home is lost, and that is to fight Bernardo and his gang for the rights of the territory. But Riff can’t do this alone, thus he calls upon his friend, and co-founder of the Jets, Tony (Ansel Elgort), to help him rally the troops to this endeavor. Tony, freshly released from prison, refuses to help but agrees to meet his friend at the local dance mixer later that night. And when he arrives, he sees a girl across the dancefloor, a heavenly, beautiful vision named Maria (Rachel Zegler). But tensions rise when he discovers that Maria is Bernardo’s sister, but he can’t help it, he’s in love with her, and upon their first interaction under the bleachers at the dance, Maria is in love with him too. From this moment on, the classic musical, loosely based on Romeo and Juliet, turns into the classic romance we’ve known and love.
On the surface, this may seem as if Spielberg and company is copying the original film beat for beat, but there are enough changes in terms of story decisions, casting, and fleshing out of previously limited sequences that transform this musical into a vast spectacle. It is as if Spielberg, a man that has never made a musical before in his extensive filmography, has been making films in this genre for years. And given that the original film is a property that inspired the iconic director to get into making movies, there is a true sense of care with a delicate touch to this effort, something that’s been missing from him for years. And with the return of this style of filmmaking, Spielberg seems to have found the lightning in the bottle that Martin Scorsese has found in his newer work, where we can’t believe we are witnessing a director back at the height of their powers, creating projects that mean something personal for them. Right by the director’s side is his Lincoln scribe Tony Kushner, who elevates every character on screen with raw honesty, and deep conflict that only love or violence can solve. It’s a beautiful balance of the struggles we all face with our own biases, and how those misgivings can have dire consequences if not resolved without harsh conflict. The Sharks and the Jets aren’t painted good or bad, but flawed, thus making them relatable. It’s mature work by Kushner, whose empathetic writing is welcomed with every scene.
Alongside the stellar direction and writing is Janusz Kamiński’s striking cinematography, who is able to capture the mood and tone of each scene perfectly as we go from bright and sunny moments like the “America” sequence, and the dark realities witnessed in the rumble between the two rival gangs. But set in front of these lavish, detailed visuals are an impeccable cast who shine bright throughout the whole film. Rachel Zegler is a revelation and will undoubtedly become a major player in the future of Hollywood cinema. She is a dual threat, with not only the voice of an angel but the acting chops of someone who has been a leading actress for multiple decades. She will forever be the real Maria of the silver screen, as the Latina actress brings all the charm and innocence, yet youthful swagger it takes to nail this part. Spielberg is known for finding new, up-and-coming talent that makes breakthrough performances in his films, and with the casting of Zegler, he’s found a megastar.
Rachel Zegler in West Side Story
Elgort, her leading man and co-star, is surprisingly strong in the part of Tony, and holds his own in singing opposite Zegler. The two have pretty good chemistry, which is essential for these parts, and their rendition of the classic number “Tonight” will send goosebumps running down your arm, making you feel as this is the first time you have properly seen this musical number performed. It’s damn special. Then there is Ariana DeBose as Anita, the role the legendary Rita Moreno made a name for and won an Oscar for, who just might follow Moreno in her golden footsteps and land an Oscar nomination. She kills every moment she is in, landing killer one liners, signing with gusto, and showcasing why she is not only a powerful actress, but one of the best dancers in all of cinema and Broadway. When DeBose and Zegler are on screen together, the film is in a whole other ballpark of excellence in terms of two dynamic performances colliding for something once in a lifetime. Alvarez and Faist are suited perfectly as the charismatic, problematic leaders they are and bounce off of each other swimmingly as foils. The other members of the Sharks and Jets blend in perfectly to fill in their angst riddled characters. But the last highlight, and the heartbeat of this project, is Rita Moreno as Valentina, who is a peacemaking shopkeeper who wants peace for both sides. As the bridge to the past and the present, Moreno brings warmth and wisdom to a world desperate for it, therefore, delivering a tear educing performance.
Minor problems like the length of some of the middle sequences and issues off screen can’t take down what is one of the most entertaining films of the year. In a year dominated by musicals, Spielberg’s version of West Side Story ranks up there with the best ones of the year like In the Heights and tick, tick…Boom, further proving that these movies are necessary to be made for representation as well as providing audiences something different alternatives to see on the big screen. Moreover, it’s just nice to have the director of our childhood return and bring us to wonder again. Here’s hoping it sticks around for longer than just this film and we get a whole new era of magic from Steven Spielberg.