Steven Spielberg's WEST SIDE STORY - News & Discussion Thread- Page 64

[LizzieCurry]

Posted: 12/10/21 at 12:27am

Musicnut82 said: "Wow, that is a very bold statement, if you take into account that his filmography since 1993 includes: SPR, A.I., Minority Report, Munich and Lincoln. Personally I consider SPR, A.I. and Munich masterpieces, the rest can be argued from very good to good."

This is a real thing real people say and not just created characters who parody film geeks?

[ljay889]

Posted: 12/10/21 at 1:02am

Saw it in AMC Dolby Cinema tonight, and it’s an absolutely spectacular film. I loved every performance, including Elgort’s. 

[Dan6]

Posted: 12/10/21 at 1:11am

Ten initial - and mostly spoiler-free - reactions from someone who adores the 1961 original and has been both anticipating and dreading this since it was announced three years ago:

1. The best score in musical theater history has never sounded better than it does here under Gustavo Dudamel.

2. Finally, for the first time in many years, someone (Janusz Kaminski) who knows how to film a musical dance scene. No rapid-fire cuts, closeups, dizzying camera swirls...just film the dancers' bodies in full and let the audience enjoy their artistry and the choreography. Everyone who makes a movie musical from now on should take a lesson from this.

3. Rachel Zegler and Ariana DeBose are both can't-take-your-eyes-off-them riveting, and their "A Boy Like That/I Have a Love" is one of the movie's highlights. Mike Faist and David Alvarez are also standouts.

4. If there's a weak link, it's Ansel Elgort, who has a fine voice but - sorry, just my opinion - really can't act very well. (Curiously, I thought the same thing about Richard Beymer in the original.)

5. Only a few lines from the original Arthur Laurents book have survived; almost the entire Tony Kushner script is new. I thought much of it was an improvement, and definitely far more culturally aware, but there were a few lines - including what I think are some critically important ones - that I really missed.

6. The songs are all there, but with some changes that I won't discuss here (mostly because I don't know how to toggle spoiler content). I was mostly fine with them, except for one big change - which happens to involve my favorite musical theater song of all time - that to me really made no sense and was the biggest problem I had with the movie.

7. For those who care about such things, this could well be the first time in history that two versions of the same movie win the Oscar for Best Picture. And despite the perceived flaws discussed above, it would be deserved.

8. It's also very likely that Best Supporting Actress will go to Ariana DeBose, making Oscars history with two actresses winning the award for the same role, or to Rita Moreno, making Oscars history with the same actress winning the award for two versions of the same movie (in different roles).

9. Go see it on the biggest screen you can find. This is no TV movie.

10. So, which version do I like better? I don't think I can answer that...at least, not yet. My initial reaction is that there are aspects of each version that I prefer over the other. I expect there will be room enough in my heart for both of them.

[Theatre Fan3]

Posted: 12/10/21 at 1:14am

I just happened to run across this interview with George Chakiris from 2016.  In it they talk about the fact that Jerome Robbins was fired half way thru filming but they never really said why.   Does anybody have more details or know what happened?

This is the interview ...

 

[Marlothom]

Posted: 12/10/21 at 1:18am

Saw it tonight and it was thrilling.  I won't repeat all of the positive feedback mentioned by others. The only thing I will add is that I was tickled that they kept the ICONIC, "I know you do" in America.  I was the lone person clapping to that, and that's okay by me.  

[Luscious]

Posted: 12/10/21 at 2:26am

Saw it tonight in the neighborhood in which it takes place. It's a brilliant reimagining and an improvement on the original film in almost every way. With the exception of one cleverly staged but woefully misplaced song (which I could have lived without entirely), I loved everything about it! Rita Moreno is a national treasure! What a beautiful role and gift to have been given. And what a beautiful and emotionally heartfelt performance she delivers! I would love to see her walk away with another supporting actress Oscar, although, no doubt, DeBose will be giving her a run for her money! This is an absolute must-see! See it on the biggest screen you can find!

 

Updated On: 12/10/21 at 02:26 AM

[mailhandler777]

Posted: 12/10/21 at 2:58am

I saw it last night in a small theater in Palmyra, PA. Dolby surround sound and reclining seats. Place only has like 30 seats and half were full. Place was freezing and I had to get up to pee twice. 

 
That being said I think this is a masterpiece. Highlights were Ariana, Rachel, Mike and Iris.

I found Ansel to be the weak link. 

For me Iris was the standout for only having a very short amount of time onscreen. Probably around 3 minutes and a few more just lurking in the background. 2 very powerful scenes. 1 in which goes into Anybodys gender a bit. Happy there is a non binary trans person playing this role. 

Updated On: 12/10/21 at 02:58 AM

[degrassifan]

Posted: 12/10/21 at 4:20am

Ok so two people have mentioned that one song is misplaced. Which one is it? I’m really curious now! If I can guess, would it be I Feel Pretty or Cool? 

[h.kerlin]

Posted: 12/10/21 at 6:30am

Saw it last night… Absolutely fantastic. I’m honestly surprised to be reading the posts that state Ansel as the weak link. I found him to be absolutely wonderful. In my opinion, he was actually one of the standouts. He acted the role beautifully (not sure how to hide spoilers, so I’ll just say that one of my favorite parts of the film was his reaction to what Valentina tells him in the basement of Doc’s shop toward the end… It absolutely broke my heart, in the best way), and delivered gorgeous vocals (his placement and vibrato are truly stunning, in my opinion). I know there’s been some controversy surrounding him recently, but without knowing much about that or commenting on it, I found him to be a truly wonderful Tony and even one of the highlights.

I also adored the way they did the rumble in this movie. It was so intense and suspenseful, and it didn’t copy and paste what the 1961 movie did, but you still obviously knew it was the iconic rumble. The added dialogue between Tony and Bernardo during that scene was really nice to see. 

“Cool” was also done very well in my opinion. I think my favorite scene, though, was “A Boy Like That/I Have A Love”… Truly heartbreaking and beautiful. Ariana and Rachel absolutely nailed it. 

I do agree with what someone stated a while back that the ending scene, to me at least, felt a bit rushed (not on the part of the actors… more something to do with how it was directed). I still found it to be effective, but maybe not as much as I have in the ‘61 movie or when I saw the show on broadway. It just didn’t land super well for me and I wish they had taken a little more time with it. But it still got me crying, so it delivers, maybe just not as much as I was expecting. 

“Gee, Officer Krupke” was the other part that I was slightly underwhelmed by, but that may just be because it was much different than what I expected (I purposefully didn’t listen to the new soundtrack before I saw the movie last night, so as to be able to experience everything for the first time while seeing it, so it may have just surprised me and I may find I like it more once I see/listen to it more). 

But honestly, those are really my only two critiques, and they are pretty minor. Everyone was fantastic - the leads (Rachel, Ansel, Ariana, David, and Mike) all stunned me in the best way, and Josh was absolutely heartbreaking as Chino and delivered a new and fresh performance from any other Chino I’ve seen. He really gave him many layers and colors and was just wonderful. 

I was absolutely blown away by the whole thing and will definitely be seeing it again and again! 

[Ic3man249]

Posted: 12/10/21 at 6:57am

I completely agree with everything that you said. He maybe wasn’t Broadway worthy, but he was more that adequate! Great even! Well said! 

Updated On: 12/10/21 at 06:57 AM

[theatretenor2]

Posted: 12/10/21 at 7:05am

Why remake a a film that’s already a masterpiece? Robert Wise’s Oscar-winning film should be left alone. That was my reaction a few years ago when I heard Steven Spielberg was remaking West Side Story. I am more than happy to eat my words. I wanted to watch it again as soon as the credits began. There is so much to absorb.
 

Spielberg’ s West Side Story is a masterpiece that somehow manages to surpass the original. He peels back the paint to offer an authentically raw take on the classic. The film is perfectly cast with many of Broadway’s freshest triple-threat talent, many who have never been on screen, in leading and supporting roles. For this reason and many others, I believe the Academy should give Spielberg a deeper look for best direction. As Riff, Mike Faist (Newsies, Dear Evan Hansen) looks born for the silver screen and brings new complexity to the character. Ariana DeBose (Hamilton, Motown) will undoubtedly be nominated for her star-making performance as Anita. We are so lucky this production was able to pull David Alvarez (Billy Elliott) away from his acting hiatus. Trans non-binary actor Iris Menas adds new depth and context to the character of Anybodys. The entire ensemble of dancers and performers shines in 2021’s West Side Story.

While Ansel Elgort’s Tony isn’t as vocally-strong next to all these Broadway performers, he holds his own and brings charm to the film. Get used to hearing Rachel Zegler’s name. She is absolutely stunning as Maria and will also be in the Oscar race. In the newly-written role of Valentina (Doc’s widow), Rita Moreno shines once again and offers a solemn and striking new rendition of “Somewhere.”

Tony Kushner’s script brings new historical context yet keeps it fresh. Bernstein’ s score has never sounded so lush, a credit to the sound designers and editors. Justin Peck’s Robbins-inspired-choreography, though at times less technical, feels freer and more athletic in the sprawling streets of New York. The cinematography is moody and gorgeous, complemented by incredible lighting and scenic design throughout the film. Spielberg effortlessly demonstrates what a modern movie musical can be.

If you are vaccinated, mask up and go see it “Tonight, Tonight.”

[theatretenor2]

Posted: 12/10/21 at 7:05am

Double post

Updated On: 12/10/21 at 07:05 AM

[The Other One]

Posted: 12/10/21 at 7:42am

TheaterFan3: Do you have the deluxe DVD of the 1961 film?  Robbins's dismissal during production is discussed and explained in the bonus DVD.  He took a very long time to say "check the gate" or "print it."  Instead, he kept going for better and better takes and frequently came up with ideas for different shots while watching through his lens.  In short, he was shooting so much footage that the producers couldn't afford to continue with him.  The film always had two directors, so Robert Wise simply took over in entirety.  

Apparently this happened just as The Dance at the Gym was about to be shot.  Hal Prince described a visit to the set as it was about to be shot expecting to see Robbins and then being told he had been fired. Robbins was there for the Prologue and, I believe, I Feel Pretty, America and at least some of Cool (which took a long time to shoot). Perhaps he was there for Somewhere, as I have read he was involved in taking advantage of Beymer's and Wood's height difference to enhance their relationship, coming up with shots of her looking up to him (the Somewhere sequence is indeed beautifully shot).  The Rumble was definitely shot after he had been removed.

Some of the dancers, tired of his relentless perfectionism, were not sorry to see him go while others, seeing him as the true creative source of the entire project, felt he had been wronged.  But it was the decision of the producers, The Mirisch Company and United Artists.  They just couldn't afford to keep him on.

He was brought back for the post-production editing of the film.  He was unhappy with how The Dance at the Gym had been shot and did his best to edit around its proscenium look. In the end I don't think anyone claimed his co-director credit had not been earned.

 

[Theatre Fan3]

Posted: 12/10/21 at 9:46am

The Other One said: "TheaterFan3: Do you have the deluxe DVD of the 1961 film? Robbins's dismissal during production is discussed and explained in the bonus DVD. He took a very long time to say "check the gate" or "print it." Instead, he kept going for better and better takes and frequently came up with ideas for different shots while watching through his lens. In short, he was shooting so much footage that the producers couldn't afford to continue with him. The film always had two directors, so Robert Wise simply took over in entirety.

Apparently this happened just as The Dance at the Gym was about to be shot. Hal Prince described a visit to the set as it was about to be shot expecting to see Robbins and then being told he had been fired. Robbins was there for the Prologue and, I believe, I Feel Pretty, America and at least some of Cool (which took a long time to shoot). Perhaps he was there for Somewhere, as I have read he was involved in taking advantage of Beymer's and Wood's height difference to enhance their relationship, coming up with shots of her looking up to him (the Somewhere sequence is indeed beautifully shot). The Rumble was definitely shot after he had been removed.

Some of the dancers, tired of his relentless perfectionism, were not sorry to see him go while others, seeing him as the true creative source of the entire project, felt he had been wronged. But it was the decision of the producers, The Mirisch Company and United Artists. They just couldn't afford to keep him on.

He was brought back for the post-production editing of the film. He was unhappy with how The Dance at the Gym had been shot and did his best to edit around its proscenium look. In the end I don't think anyone claimed his co-director credit had not been earned.

"

Thank you so much for explaining this.  I had checked out the dvd from the public library this week to get me up to speed before watching the new film but their copy was the very "basic of basics" ... it included the film and the trailer ... nothing more.  I was thinking about purchasing a blu ray edition but was hoping they might release a 60th anniversary edition in conjunction with the release of the new film but that doesn't seem to be happening so I may have to resign myself to getting the 50th anniversary edition.  If anybody has heard of a newer edition in the pipeline please let me know and I will hold off on purchasing. 

So exciting to hear all these glowing reports from those of you who have seen the film.  Today it's my turn as I head out to see the 11:00 AM IMAX screening. 

[Musicnut82]

Posted: 12/10/21 at 9:51am

LizzieCurry said: "Musicnut82 said: "Wow, that is a very bold statement, if you take into account that his filmography since 1993 includes: SPR, A.I., Minority Report, Munich and Lincoln. Personally I consider SPR, A.I. and Munich masterpieces, the rest can be argued from very good to good."

This is a real thing real people say and not just created characters who parody film geeks?"

I am not sure I follow your question.

Btw my statement was not made in a demeaning or condescending manner but more in a shock or surprise/disbelief reaction. Having not seen the film I think you would agree if you were told that Spielberg has made a movie that is better than the ones mentioned on my list and up there with Schindler's List you would be shockingly surprised. Especially when he hasn't made a film of that caliber in over a decade. Spielberg along with Kubrick are my two favorite directors of all time, so I am actually quite pleasantly surprised when I receive the confirmation that he has made another high caliber cinematic classic at the age of 75, soon to be, something rare for filmmakers since they tend to lose their peak after a certain age.

 

[BJR]

Posted: 12/10/21 at 9:52am

Hard not to repeat praise.

It's every bit as good as folks have said. I truly had a feeling of, Wow, they pulled it off.

It honors the original in so many ways while fleshing out the characters with backstories that truly motivate the plot twists already there. Truly astonishing achievement, doing that.

My fav change:

 

Click Here To Toggle Spoiler Content

"Cool." I lit up with surprise and delight when the music began and Tony started singing. GENIUS. With allot he back and forth of where it belongs in the show, it rarely gets discussed that it stops the plot cold and doesn't move the story forward. Now, it does. And it's thrilling, playful, dangerous, motivated by characters. AND it makes Tony intervening in the rumble even more powerful.

 

[LizzieCurry]

Posted: 12/10/21 at 10:22am

Musicnut82 said: "Btw my statement was not made in a demeaning or condescending manner but more in a shock or surprise/disbelief reaction. "

I'm glad that wasn't your intent. But that wasn't the outcome.

[CarlosAlberto]

Posted: 12/10/21 at 10:40am

Saw it again last night - going again tonight. 

Some plot points that resonated with me aside from the tragic love story:

 

Click Here To Toggle Spoiler Content

Both gangs needlessly fighting for territory that ultimately will no longer exist anyway due to slum clearance. 

Riff buying the very gun that will ultimately kill Tony. 

Chino helping Tony get into the salt shed where the rumble is taking place.  A rumble that will not only seal the fates of their very closest friends, but their own as well. 

Chino, a book smart guy with so much hope and promise breaking down and losing it all by turning into a cold blooded murderer.

Anita, who dreams of making it in America and constantly pests Bernardo and Maria to practice their English and telling them "In English please" only to chillingly get those very words thrown back at her by Lieutenant Schrank when she and Maria are speaking in Spanish during the interrogation. Any hope and promise she had for a better life in America are destroyed by the Jets' brutal rape attempt at Doc's.

The stakes were so much higher for some of these characters in this version than they were depicted in the original show and film and like I said before the outcomes cut so much deeper with me. 



 

The last scene didn't completely land with me. It was too brief and it did not quite move me as it did in the original film.

Rachel cannot even come close to Natalie Wood's completely gut wrenching breakdown from the original film.  It moved me, but Natalie Wood always moves me to tears...even after 1,000 viewings.

I just wish there was a little more of an investment made in that final scene in the new film.

Updated On: 12/10/21 at 10:40 AM

[Scarywarhol]

Posted: 12/10/21 at 11:01am

The film opened to a soft 800k Thursday night, same as Dear Evan Hansen. Here's hoping it gets the chance to leg out as musicals sometimes can. Spider-Man swallows most multiplex screens next Friday, but this seems like counter-programming. 

[CarlosAlberto]

Posted: 12/10/21 at 11:07am

Scarywarhol said: "The film opened to a soft 800k Thursday night, same as Dear Evan Hansen. Here's hoping it gets the chance to leg out as musicals sometimes can. Spider-Man swallows most multiplex screens next Friday, but this seems like counter-programming."

I hate how no other film genre is subjected to this  - - - only musicals.. If a film from another genre underperforms no one is quick to write that genre off. 

It's like every musical film that comes out has to prove that the genre deserves to even exist. 

It's bullsh!t

[ElephantLoveMedley]

Posted: 12/10/21 at 11:13am

CarlosAlberto said: "The last scene didn't completely land with me. It was too brief and it did not quite move me as it did in the original film. Rachel cannot even come close to Natalie Wood's completely gut wrenching breakdown from the original film. It moved me, but Natalie Wood always moves me to tears...even after 1,000 viewings. I just wish there was a little more of an investment made in that final scene in the new film."

I completely agree with these points, Carlos. I thought, on the whole, the movie was an absolute masterpiece and is a crown jewel of cinematic adaptation of a musical. It felt vital, fresh, and bold. Visually stunning, sung and danced for the ages, featuring amazing performances (particularly DeBose and Moreno, who made me absolutely lose it during her "Somewhere". Hoping it picks up a number of Oscars.

However, my biggest issues with the film were exactly these two. I thought Rachel was a major standout throughout the film—she is absolutely magnetic to watch and her voice is angelic. But I thought her acting wasn't raw and intense enough during two important scenes: (1) where she sees Tony for the first time after the rumble; and (2) mourning Tony in the finale. Natalie Wood's devastation in those two particular scenes still haunts me, and I thought Rachel was a little too act-y in those moments. I found it odd because there were other parts of the film where I thought Rachel showed the potential to convincingly act devastated and in horror (like in "A Boy Like That" and when she's running up to Tony and realizes Chino is behind him with a gun).  

And I thought the fallout after Tony dies was not on the same emotional level and heft of the preceding two and a half hours. It's unfortunate because I wanted to bawl my eyes out, but it weirdly felt like they just performed by the book for the final two minutes of the film.

I'm nitpicking here because the rest of the property was pretty much flawlessly done. So many smart choices made. I will certainly be making return trips to this and will be rooting for it during Oscar season.

[Scarywarhol]

Posted: 12/10/21 at 11:14am

I completely agree with you about how frustrating that is, CarlosAlberto. Just posting because it might be of interest, but maybe should be a separate thread?

Like I said earlier, I do think this has a good shot for a long life at the theater if it's given the chance to build. 

Updated On: 12/10/21 at 11:14 AM

[CarlosAlberto]

Posted: 12/10/21 at 11:33am

ElephantLoveMedley said: 

I completely agree with these points, Carlos. 


However, my biggest issues with the film were exactly these two. I thought Rachel was a major standout throughout the film—she is absolutely magnetic to watch and her voice is angelic. But I thought her acting wasn't raw and intense enough during two important scenes: (1) where she sees Tony for the first time after the rumble; and (2) mourning Tony in the finale. Natalie Wood's devastation in those two particular scenes still haunts me, and I thought Rachel was a little too act-y in those moments. 

And I thought the fallout after Tony dies was not on the same emotional level and heft of the preceding two and a half hours. It's unfortunate because I wanted to bawl my eyes out, but it weirdly felt like they just performed by the book for the final two minutes of the film.

Totally agree with this. Thanks for reminding me that Rachel also missed the mark when she confronts Tony after the rumble - - - another scene that guts me every time because of the way it was so brilliantly played by Natalie Wood.

With Natalie you feel Maria's pain...with Rachel, not so much....

 

[CarlosAlberto]

Posted: 12/10/21 at 11:36am

Scarywarhol said: "I completely agree with you about how frustrating that is, CarlosAlberto. Just posting because it might be of interest, but maybe should be a separate thread?

Like I said earlier, I do think this has a good shot for a long life at the theater if it's given the chance to build."

Yes, as a huge musical/WSS geek it is frustrating.

Maybe Disney will extend it's theatrical run? I think it's only slated for 45 days in theaters before it goes to HBOmax. 

[HenryTDobson]

Posted: 12/10/21 at 12:06pm

I found this discussion to be really interesting.