Spielberg's attempt to revive the iconic "West Side Story" falls short when stacked against the brilliance of the 1961 Academy Award-winning original. The unavoidable comparisons intensify when considering the substantial influence of screenwriter Tony Kushner, who leaned more on the original stage play than the earlier film adaptation.
The film's saving grace lies in Spielberg's treatment of the musical numbers. The true brilliance emerges when Stephen Sondheim's lyrics are sung, accompanied by Leonard Bernstein's unforgettable music. This is where the adaptation manages to shine, capturing the essence of the iconic tunes.
However, the film stumbles on two fronts: the casting and the handling of dramatic scenes. Kushner's inclusion of the new character Valentina, played by the original Anita, Rita Moreno, proves a redeeming aspect. Yet, despite Moreno's commendable portrayal, her rendition of 'Somewhere' near the climax lacks the potency of the principal character Tony singing it and is hindered by Moreno's aged voice.
Spielberg's casting decisions raise eyebrows. Rachel Zegler, while handling the musical numbers well as Maria, is too young and lacks the gravitas that Natalie Wood brought to the role. Ansel Elgort as Tony, though possessing a fine voice, fails to leave a lasting impression.
Moreover, Kushner's attempts to provide backstories for Tony and rival Bernardo (Tony did a year in the slammer and Bernardo now a skilled boxer) feel superficial and add little substance to their characters.
The film deviates from the original's concise storytelling, introducing unnecessary verbiage and omitting the underscoring of musical themes during crucial dramatic moments. The gang members, though effective in song, lack the memorability of their counterparts from the original, with the notable exception of the "Gee Officer Krupke" number placed in the original setting of a police precinct. The gang roles in Spielberg's version remain largely forgettable, failing to match the corny but still memorable supporting players of the original.
The underdeveloped romantic plot, reminiscent of musical theater tropes, is exacerbated by an unnecessary minimal expansion of Tony and Maria's relationship (for example their "date" to the Cloisters).. The film's choreography, though commendable in certain scenes, falters in the overblown gang dance sequences, particularly in the prologue and "Cool," where the clumsy handling of a gun detracts from the intended effect.
Ariana DeBose stands out among the supporting cast as Anita, a role that once made Rita Moreno a star. Chino's transformation from a nerdy outsider to a killer is an interesting choice, but the portrayal of the police detective comes across as overly malevolent.
Despite Spielberg's technical brilliance, his struggle to elicit compelling drama from the actors is evident. The film would have benefitted from a director with theatrical experience.
In the realm of intellectual engagement, "West Side Story" fails to make significant demands on its audience. Nevertheless, the exceptional music, lyrics, and choreography, ensure a captivating experience, regardless of which version of this iconic musical you choose to watch.
The film's saving grace lies in Spielberg's treatment of the musical numbers. The true brilliance emerges when Stephen Sondheim's lyrics are sung, accompanied by Leonard Bernstein's unforgettable music. This is where the adaptation manages to shine, capturing the essence of the iconic tunes.
However, the film stumbles on two fronts: the casting and the handling of dramatic scenes. Kushner's inclusion of the new character Valentina, played by the original Anita, Rita Moreno, proves a redeeming aspect. Yet, despite Moreno's commendable portrayal, her rendition of 'Somewhere' near the climax lacks the potency of the principal character Tony singing it and is hindered by Moreno's aged voice.
Spielberg's casting decisions raise eyebrows. Rachel Zegler, while handling the musical numbers well as Maria, is too young and lacks the gravitas that Natalie Wood brought to the role. Ansel Elgort as Tony, though possessing a fine voice, fails to leave a lasting impression.
Moreover, Kushner's attempts to provide backstories for Tony and rival Bernardo (Tony did a year in the slammer and Bernardo now a skilled boxer) feel superficial and add little substance to their characters.
The film deviates from the original's concise storytelling, introducing unnecessary verbiage and omitting the underscoring of musical themes during crucial dramatic moments. The gang members, though effective in song, lack the memorability of their counterparts from the original, with the notable exception of the "Gee Officer Krupke" number placed in the original setting of a police precinct. The gang roles in Spielberg's version remain largely forgettable, failing to match the corny but still memorable supporting players of the original.
The underdeveloped romantic plot, reminiscent of musical theater tropes, is exacerbated by an unnecessary minimal expansion of Tony and Maria's relationship (for example their "date" to the Cloisters).. The film's choreography, though commendable in certain scenes, falters in the overblown gang dance sequences, particularly in the prologue and "Cool," where the clumsy handling of a gun detracts from the intended effect.
Ariana DeBose stands out among the supporting cast as Anita, a role that once made Rita Moreno a star. Chino's transformation from a nerdy outsider to a killer is an interesting choice, but the portrayal of the police detective comes across as overly malevolent.
Despite Spielberg's technical brilliance, his struggle to elicit compelling drama from the actors is evident. The film would have benefitted from a director with theatrical experience.
In the realm of intellectual engagement, "West Side Story" fails to make significant demands on its audience. Nevertheless, the exceptional music, lyrics, and choreography, ensure a captivating experience, regardless of which version of this iconic musical you choose to watch.