I've always thought the original was fine. By no means a clunker of an adaptation - like, say, GYPSY - but also one that now feels overacted and for large stretches, static.
I think there's room for another film almost 60 years later. And this is as damn near an A-List team as it gets.
Although filmmakers (including directors, cinematographers, editors, etc.) have their own artistic vision and there are certain distinct styles some may have that will transcend everything else, technology, audience tastes through the decades I do believe do have some influence. Filmmakers aren't always static people either and would be influenced by their surroundings and changing times.
Anyway we've veered off topic. I'm not the one saying WSS is dated material, and I do believe it holds up incredibly well, but some of the book scenes are done in a way that probably would not be done today as would the casting and line readings. I also hate to say this but if someone less skilled than Spielberg were to do this film, I bet they'd reshoot the musical numbers in that awful MTV fast editing style that people are used to now and make the numbers look like something from Step Up 5 or whatever. I'd hate it, but for many young people they'd probably like that since they grew up with it and don't have the patience for how a musical number should be shot until they relearn. In order for them to be reconditioned, they have to be willing to watch it in the first place, and I think some of us recognize there are some who just won't watch old movies no matter how good they are because there's a certain energy to them that seems old to them. If this help exposes people to WSS, then I'm supportive and I hope it's well done.
She might be too old for the role, but Vanessa Hudgens would be a great Maria. I wouldn't be surprised if they cast newcomers for the majority of the roles. I do think Anita could be a role that might involve stunt casting.
I really wonder how they will tackle all the non-singing dancing scenes. I really think they will reduce the length of all the stand alone dance numbers.
Vanessa Hudgens is one year away from turning 30. She is too old to be the teenaged Maria, and besides that she is not Latina, she is Irish, Native American, and Filipino.
Personally I just hope they have an unknown SOPRANO sing Maria...
Here's the one insurmountable problem with remaking any of these classical musicals. Audiences today can never buy into lip syncing and are too hip to have it hidden from them. There are wonderful actresses and singers with wonderful voices, but there are no more super talented charismatic stars like Julie Andrews or Shirley Jones who could do both. On the male side, Hugh Jackman is the only actor I can think of that would qualify, but that's about it.
It looks like INDIANA JONES 5 will be Steven Spielberg's next film, so, at this point, excessive speculation about WEST SIDE STORY is probably a bit premature.
Frankly, I think that the original 1961 film version of West Side Story would be the best way to inspire younger generations to be interested in it. A re-make of West Side Story is a lousy idea, no matter what anybody else says or thinks, or no matter who's make-making it.
Indy 5 has been delayed going by the story in Variety, West Side Story looks set to move ahead
Well I didn't want to get into it, but he's a Satanist.
Every full moon he sacrifices 4 puppies to the Dark Lord and smears their blood on his paino.
This should help you understand the score for Wicked a little bit more.
Tazber's: Reply to
Is Stephen Schwartz a Practicing Christian
Tom5 said: "Audiences today can never buy into lip syncing and are too hip to have it hidden from them. There are wonderful actresses and singers with wonderful voices, but there are no more super talented charismatic stars like Julie Andrews or Shirley Jones who could do both. On the male side, Hugh Jackman is the only actor I can think of that would qualify, but that's about it."
Dear Tom Hooper,
This post is a disgrace and completely separated from reality. I hate to be repetitive but it is people like you that are ruining the artform on film. Waking you up is my duty.
Audiences are very much used to understanding singing over a filmclip, they walk around all day with songs and clips on their phones and are moved by it. They understand the magic of sung thoughts and how that works on their screens. It's an artform they are exposed to every day. This is not about "hiding" the fact that it is not literal. It is about understanding that non-literal sung thoughts pre recorded take it to the next level and away from literacy.
I think there is a very fine line between truthful singing that works in film, versus going overboard one way or another. They either go overboard Broadway style or they go overboard soap opera, speak-bleating, apologizing for singing style. Which are both funest in film and make people feel they are far removed from it.
In your Les Mis film, Hugh Jackman makes both mistakes in 1 line all the time, which is quite unbelievable.
People will always wonder why one is singing if the singing makes no sense and the actor apologizes for it, and acts in spite of it.
The material is written in a way for a reason. The melodies and lyrics create a power beyond belief. I think that in fact this "overemoting" is not only disrespectful to the material, but it makes scenes lose its sincerity and truthfulness. It basically puts the singing in an apologizing role which makes it feel very posturing and overly dramatic. This is the reason that viewers can't engage. This is what viewers do not buy. This is why people were laughing during dramatic scenes in the cinema and leaving with the idea that it was not truthful. It's distraction.
I think it is mainly the underestimation of the material. It may also be a lack of ability to feel the material enough to feel it does the work already. Some performers and directors (like yourself) treat it in a too literal way, too much like soap-drama, which makes this material extremely awkward. As it's per definition not literal. It's the opposite approach that creates the magic.
I also truly wonder if you and people like Hugh Jackman are actually aware of the disconnect and insincerity you create in the material. Separating it and "acting in spite of song" is not "acting through song".
Tom, your style is insincere. Wake up. There are people with sincerity in singing AND acting, just like Julie Andrews, but we need directors that recognize them instead of focusing on Hugh Jackmans.
The original movie works despite one lead who is just adequate (Wood) and one that is just terrible (Beymer)
It works because of Rita Moreno, George Chakiris, and to a lesser extent Russ Tamblyn. But most of all because of Jerome Robbins'choreography. Nearly 60 years later, it still is electrifying and fresh. Spielberg will have to incorporate it, or it will be a very hard sell for me.
I'd much rather them do this as a live TV event, with no goddamned commercials, though
The casting call for the film wanted actors between 15-25 years-old for the principal cast. That's the realistic age range of the characters. Historically, the roles have mostly been played by older actors on Broadway.
I'm willing to entertain this because of the whitewashing and lip-syncing (to someone else's voice) in the original. Camila is certainly not a Maria but her voice feels too... distinctive for Anita. And more importantly, she feels like a singer whose voice works best layered over a lot of production and her voice still sounded thin on her solo album where you could feel the absence of the other members of Fifth Harmony. I'm not convinced that she isn't someone who is better in a group. That certainly doesn't suggest she should level up to being a lead in a film.
Owen22 said: "ucjrdude902 said: "Hollywood is whispering that Camila Cabello (sp?) is after the role of Anita and has met with Spielberg already."
How old is Anita supposed to be?"
Well, Cabello is 21. Chita was 24 when the original production opened, while Rita Moreno was around 29 or 30 when the film came out; in the most recent revival, Karen Olivo was in her early 30s. I think the reason for the age range is more based on the look of the actress than their actual age; besides, she's supposed to technically be the Nurse, but the Nurse is always presented in her 50s, so I think it's more based on looks than age for Anita.
lovebwy said: "[...] But most of all because of Jerome Robbins' choreography. Nearly 60 years later, it still is electrifying and fresh. Spielberg will have to incorporate it, or it will be a very hard sell for me."
I think I would agree. Given the era, so much of the casting (i.e., Natalie Wood) was acceptable. Although times have changed, perpetuating the same casting methods (casting 'popular' actors, even when they may be ethnically congruous) would be just as sad...
I imagine that it must be very difficult to cast actors in a "timeless" musical who would ultimately ALSO be timeless. ...especially since films, when done well, have the potential to last forever.
It seems clear that the original movie version (outside of Robbin's choreography) hasn't completely held up after the passage of time, and actor popularity have waned.
Leads will definitely be recognizable names. This nation wide casting call was more about filling the ensemble roles. WEST SIDE STORY is legendary for every single ensemble/dancer having a character name.
BrodyFosse123 said: "Leads will definitely be recognizable names. This nationwide casting call was more about filling theensemble roles. WEST SIDE STORY is legendary for every single ensemble/dancer having acharactername."
Really?!?! That is not what all the casting call announcements stated. It clearly states what roles they were looking to cast. The lead roles were listed.
Yes, they may have been looking to fill ensemble/dance roles but the purpose for the calls is very clearly stated in the announcements/ads