The Sharks and the Jets hate one another, and they compete for control of the west side of Manhattan. Among the Jets is Tony (Ansel Elgort) and within the Sharks is Maria (Rachel Zegler), two young adults who, when meeting one another, instantly fall in love. That love will cause even more issues between the opposing gangs, and life becomes more dangerous than before. West Side Story is a story of love, death, and commitment to one another and all that you hold near and dear. Tony and Maria must fight for what they believe to be right in this adaptation of Arthur Laurents’ 1957 musical of the same name. What they believe in will cause issues for themselves and the ones they call family; is it all worth the struggle?
You can’t compete with the 1961 film version of West Side Story, and it’s unfair to compare this remake to the original. So, it’s my goal to avoid any comments about the original film and focus entirely on the remake, and, on its own, West Side Story (2021) is a wonderful film.
Casting is integral to West Side Story, and for the most part I believe that casting director Cindy Tolan hits the nail on the head. Zegler, Mike Faist (Riff), and Corey Stoll (Lieutenant Schrank) are perfect in their respective roles. They are brilliant, vigorous, and completely full of life throughout the course of the film. Zegler, in particular, steals the show. With her incredible voice, impeccable acting ability, and unique aesthetic, she brings a sense of perfection to this production that even past incarnations of Maria were unable to. I’m so conflicted about the casting of Elgort as Tony. He’s a wonderful singer and a talented actor (which is clear throughout with the exception of one scene toward the end), but something about his aesthetic is off putting. I can’t put my finger on it, but I can’t picture him in this role–even as it played out in front of me. This probably isn’t a fair critique of him as the film’s lead, but what I know is that I struggled so much with this aspect of West Side Story, and I suppose that’s enough for me to speak of his casting in this fashion.
During the balcony scene, as the song Tonight concludes, there is a moment in which Maria’s eyes tell the story of this heartbreaking musical. Her eyes begin to glisten–they literally sparkle–as the song comes to an end, and it’s at this moment that I was truly able to appreciate the cinematic prowess of director Steven Spielberg. I never doubted his abilities, but this moment is beautiful, heartwarming, and full of love (and better yet, this aspect of this scene appears genuine–not some fancy trick to intrigue viewers). This is my favorite part of the entire film (and one of the best things I’ve seen in a film in some time) and the visual has been stuck in my mind for days.
Race plays a significant role in West Side Story, there’s no denying that. At the heart of the story race is the vessel by which Tony and Maria’s love story is delivered, but there’s an issue with the way in which Spielberg chooses to express the differences between the Sharks and the Jets–and that is the lack of subtitles. I understand the fact that Speilberg and writer Tony Kushner want to vividly express the language barrier and the cultural differences between the two gangs, but what happens as a result is viewers miss what feels like a third of the dialogue–ultimately causing some moments to lose meaning. While I appreciate what it is that the cast and crew are attempting to accomplish here, it frustrates me terribly that I missed a good portion of the film due to said language barrier.
West Side Story is visually stunning. The sets are miraculous and they mirror what New York would have looked like in the 1950’s. Those sets and the costumes bring the 50’s to life once more and express, accurately, the setting in which West Side Story takes place. I’m not one to care much about dancing or the effect that it has on a film, but the dance numbers and the overall choreography may be the best that I’ve ever seen in a musical. This is a testament to both Jerome Robbins (the man in charge of originally creating the choreography) and the actors. Together (meaning the actors and the original choreography) they create something beautiful and vibrant.
The camerawork is wonderful as the head of cinematography, Janusz Kaminski, is able to capture those stupendous sets, as well as the immersive dance numbers. As well done as the camera work is throughout West Side Story, however, there is an issue that exists throughout as well, and I found it terribly frustrating. That issue is the existence of lens flares. Lens flares can be used to express the significance of light or a number of other things, but there are flares that pop up over characters' faces that serve no purpose but to frustrate and antagonize viewers. This may seem like a minor issue, but it’s an issue that can easily be fixed in post, meaning that the existence of those flares aren’t justified.
The acting is spectacular, the visuals are stunning, and the voices of the entire cast–particularly Elgort and Zegler–are some of the best I’ve heard (and I look forward to hearing Zegler in the future). West Side Story is back in a big way, and fans of the original and the musical, as well as new viewers, are in for a treat as they experience this spectacular film. West Side Story is everything I expected it to be, and the cast and crew create something truly wonderful. West Side Story is sure to entertain and introduce a new generation to Laurent’s incredible work.
Directed by Steven Spielberg.
Written by Tony Kushner & Arthur Laurents.
Starring Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Rita Moreno, Brian d’Arcy James, Corey Stoll, Mike Faist, Josh Andrés Rivera, Iris Menas, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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