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West Side Story
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West Side Story (1961) More at IMDbPro »

Photos (See all 151 | slideshow) Videos (see all 23)
West Side Story -- Featurette: Original Theatrical Trailer
West Side Story -- Clip: A Boy Like That
West Side Story -- Featurette: Storyboards
West Side Story -- Special ED. DVD, Post
West Side Story -- Clip: Somewhere

Overview

User Rating:
7.6/10   59,326 votes »
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Down 2% in popularity this week. See why on IMDbPro.
Writers:
Ernest Lehman (screenplay)
Arthur Laurents (book)
(more)
Contact:
View company contact information for West Side Story on IMDbPro.
Release Date:
23 December 1961 (Japan) See more »
Tagline:
"BEST PICTURE!" Winner of 10 Academy Awards! - 1961 (post-Oscar) See more »
Plot:
Two youngsters from rival New York City gangs fall in love, but tensions between their respective friends build toward tragedy. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 10 Oscars. Another 27 wins & 7 nominations See more »
User Reviews:
Dynamic and exhilarating landmark musical offering a still-topical spin on the age-old "Romeo and Juliet" story. See more (297 total) »

Cast

  (in credits order) (verified as complete)

Natalie Wood ... Maria

Richard Beymer ... Tony

Russ Tamblyn ... Riff

Rita Moreno ... Anita

George Chakiris ... Bernardo

Simon Oakland ... Schrank

Ned Glass ... Doc
William Bramley ... Krupke

Tucker Smith ... Ice
Tony Mordente ... Action
David Winters ... A-rab
Eliot Feld ... Baby John
Bert Michaels ... Snowboy
David Bean ... Tiger
Robert Banas ... Joyboy
Anthony 'Scooter' Teague ... Big Deal (as Scooter Teague)
Harvey Evans ... Mouthpiece (as Harvey Hohnecker)
Tommy Abbott ... Gee-Tar
Susan Oakes ... Anybodys
Gina Trikonis ... Graziella
Carole D'Andrea ... Velma
Jose De Vega ... Chino
Jay Norman ... Pepe

Gus Trikonis ... Indio
Eddie Verso ... Juano
Jaime Rogers ... Loco
Larry Roquemore ... Rocco
Robert E. Thompson ... Luis (as Robert Thompson)
Nick Navarro ... Toro (as Nick Covacevich)
Rudy Del Campo ... Del Campo
Andre Tayir ... Chile
Yvonne Wilder ... Consuelo (as Yvonne Othon)
Suzie Kaye ... Rosalia
Joanne Miya ... Francisca
rest of cast listed alphabetically:

John Astin ... Glad Hand (uncredited)
Jimmy Bryant ... Tony (singing voice) (uncredited)

Christopher Culkin ... Dancer (uncredited)
Maria Henley ... Shark dancer Teresita (uncredited)
Elaine Joyce ... Dancer (uncredited)

Priscilla Lopez ... Child Extra (uncredited)

Marni Nixon ... Maria (singing voice) (uncredited)
Lou Ruggiero ... Police Officer #3 (uncredited)
Penny Santon ... Madam Lucia (uncredited)
Lee Theodore ... Dancer (uncredited)
Roxanne Tunis ... Dancer (uncredited)
Betty Wand ... Anita (singing voice) (uncredited)

Directed by
Jerome Robbins 
Robert Wise 
 
Writing credits
Ernest Lehman (screenplay)

Arthur Laurents (book by)

Jerome Robbins (play conceived by)

William Shakespeare  play "Romeo and Juliet" (uncredited)

Produced by
Saul Chaplin .... associate producer
Walter Mirisch .... executive producer (uncredited)
Robert Wise .... producer (uncredited)
 
Original Music by
Leonard Bernstein (music by)
Irwin Kostal (uncredited)
 
Cinematography by
Daniel L. Fapp (director of photography)
 
Film Editing by
Thomas Stanford (film editor)
 
Production Design by
Boris Leven (production designed by)
 
Set Decoration by
Victor A. Gangelin  (as Victor Gangelin)
 
Costume Design by
Irene Sharaff (costume designed by)
 
Makeup Department
Emile LaVigne .... makeup (as Emile La Vigne)
Alice Monte .... hairdresser
 
Production Management
Allen K. Wood .... production manager
Hubert Fröhlich .... production manager (uncredited)
 
Second Unit Director or Assistant Director
Robert E. Relyea .... assistant director
Jerome M. Siegel .... second assistant director
 
Art Department
Sam Gordon .... property
Maurice Zuberano .... production artist (as M. Zuberano)
Leon Harris .... production illustrator (uncredited)
William Maldonado .... construction coordinator (uncredited)
 
Sound Department
Fred Lau .... sound
Gilbert D. Marchant .... sound editor
Murray Spivack .... sound
Vinton Vernon .... sound
Richard Gramaglia .... sound mixer (uncredited)
Fred Hynes .... sound recording supervisor (uncredited)
Gordon Sawyer .... sound supervisor (uncredited)
 
Visual Effects by
Saul Bass .... visual consultant
Linwood G. Dunn .... photographic effects (as Linwood Dunn)
 
Stunts
Eli Bo Jack Blackfeather .... stunts (uncredited)
 
Camera and Electrical Department
Linwood G. Dunn .... title photographer (uncredited)
John Finger .... camera operator: title sequence (uncredited)
Ernst Haas .... still photographer (uncredited)
Louis Kulsey .... dolly grip: title sequence (uncredited)
 
Costume and Wardrobe Department
Bert Henrikson .... wardrobe
 
Editorial Department
Marshall M. Borden .... assistant editor
 
Music Department
Leonard Bernstein .... music by
Richard Carruth .... music editor
Saul Chaplin .... musical supervisor
Johnny Green .... music conductor
Johnny Green .... musical supervisor
Irwin Kostal .... musical supervisor
Irwin Kostal .... orchestrator
Sid Ramin .... musical supervisor
Sid Ramin .... orchestrator
Stephen Sondheim .... lyrics by
Robert Tucker .... vocal coach (as Bobby Tucker)
Betty Walberg .... musical assistant
Pete Candoli .... musician (uncredited)
Jack Dumont .... musician: saxophone (uncredited)
Walter A. Gest .... production music playback operator (uncredited)
Shelly Manne .... musician (uncredited)
Red Mitchell .... musician (uncredited)
Uan Rasey .... musician: trumpet soloist (uncredited)
Albert T. Viola .... musician (uncredited)
 
Other crew
Tommy Abbott .... dance assistant
Margaret Banks .... dance assistant
Saul Bass .... titles
Robert E. Griffith .... based upon the play produced on the stage by
Howard Jeffrey .... dance assistant
Tony Mordente .... dance assistant
Harold Prince .... based upon the play produced on the stage by (as Harold S. Prince)
Jerome Robbins .... choreography by
Jerome Robbins .... stage play: director
Jerome Robbins .... stage play: orchestrator
Stanley Scheuer .... script supervisor (as Stanley K. Scheuer)
Roger L. Stevens .... by arrangement with
Hal Bell .... assistant choreographer (uncredited)
John Flynn .... script supervisor (uncredited)
Gerald Freedman .... assistant: Mr. Robbins (uncredited)
Peter Gennaro .... co-choreographer (uncredited)
Eliot Hyman .... production executive (uncredited)
Howard Jeffrey .... assistant choreographer: Mr. Robbins (uncredited)
George Lake .... assistant stage manager: stage production (uncredited)
Harold Mirisch .... production executive (uncredited)
Marvin Mirisch .... production executive (uncredited)
Howard Newman .... press representative (uncredited)
Arthur Rubin .... assistant stage manager: stage production (uncredited)
Wallace Siebert .... assistant: Mr. Gennaro (uncredited)
Ray Stark .... production executive (uncredited)
Lee Theodore .... assistant choreographer (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
Runtime:
152 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.20 : 1 See more »
Sound Mix:
4-Track Stereo (35 mm magnetic prints) | 70 mm 6-Track (Westrex Recording System) (70 mm prints) | Mono (35 mm optical prints)
Certification:
Argentina:Atp | Australia:PG | Brazil:Livre | Finland:K-12 | Ireland:PG | Japan:G (2009) | Netherlands:MG6 | Peru:PT | Portugal:M/12 | Sweden:15 (original rating) | Sweden:11 (re-rating) (1970) | UK:A (original rating) | UK:PG (video rating) (1986) | USA:Unrated | USA:Not Rated (DVD rating) | USA:Approved (certificate #19949) | West Germany:12

Did You Know?

Trivia:
Throughout the movie, Natalie Wood wears a bracelet on her left wrist, not for any aesthetic reason, but because she had injured her wrist in the scene of The Green Promise (1949) when she fell on the bridge that collapsed during the severe rainstorm, causing an unsightly bone protrusion on her wrist. She wore the bracelet to hide the injury. It became her trademark in all of her movies.See more »
Goofs:
Continuity: In the final scene there is a male onlooker dressed in blue on the left near Schrank's car. In the next wide shot he is standing on the right near the uniformed police carSee more »
Quotes:
[first lines]
[the Jets dance across the streets of New York, eventually coming to a playground where they toss around a basketball. The ball is intercepted by Bernardo, leader of the Sharks]
Riff:[snaps fingers at Bernardo] Come on.
[Bernardo drops the ball, Riff picks it up]
Riff:Beat it.
See more »
Movie Connections:
Referenced in Chance Pe Dance (2010)See more »
Soundtrack:
A Boy Like That/I Have a LoveSee more »

FAQ

Is Shakespeare's 'Romeo and Juliet' available for reading online?
What is 'West Side Story' about?
How old were Maria and Tony?
See more »
79 out of 108 people found the following review useful.
Dynamic and exhilarating landmark musical offering a still-topical spin on the age-old "Romeo and Juliet" story., 21 March 2001
Author: gbrumburgh (gbrumburgh@aol.com) from Los Angeles, California

It is a testament to the musical and theatrical brilliance of "West Side Story" that this teenage urban love story, set to Shakespeare's classic "Romeo and Juliet," has survived its outmoded 50s-style book (Arthur Laurents) replete with "Dead End Kids" posturings and corny, streetwise lingo (I still cringe when I hear the word "daddio"). For nowhere will you experience such electrifying, jaw-dropping choreography (Jerome Robbins). Nowhere will you thrill to a more exhilarating, passionate, full-throttled score (Leonard Bernstein, with Stephen Sondheim providing the libretto). And nowhere will you find a more dynamic, better-crafted musical that arguably surpasses its Broadway stage predecessor from overture to finale.

Maria, a lovely, innocent Puerto-Rican girl ("Juliet") and sister of a formidable gang leader, falls for an opposing though reluctant white-skinned gang member Tony ("Romeo") with tragic results. Set in a tough New York neighborhood where the two disparate groups, the Jets ("the Montagues") and Sharks ("the Capulets"), battle for street territory armed with knives, zip guns and rocks, the determined love affair sets off a calamitous chain of events that, in the end, manage to instill hope in diversity. Topical enough?

The strength of "West Side Story" is that it does not try to hide its stage roots. It still unfolds like a musical play. The film is expanded but the talented cast is not dwarfed by on-location surroundings or panoramic camera work ("South Pacific" fell victim to this). On the contrary, the cast lights up every single playing space with sure-footed aliveness and plenty of 'tude. Co-directors Robert Wise and Jerome Robbins stay true to the original, having the sense not to alter or butcher the score ("Man of La Mancha") or haul in a slew of new, untried songs ("On the Town", which actually worked for that musical). In a particularly "Wise" move (sorry), two numbers were repositioned to enhance or intensify the narrative flow. In the film version, the "Officer Krupke" number sparked by a goofy Three Stooges-like levity, is moved earlier into the proceedings BEFORE the serious rumbles start, serving neatly as a light and humorous anti-establishment statement. The tightly-coiled, finger-snapping "Cool" number is pushed way back, giving both song and situation a heightened impact as it goads and ignites the Jet's feelings of pent-up rage and retaliation AFTER their leader is murdered. Smart move, daddio.

The late Natalie Wood has been crucified by critics for her ethnic portrayal of Maria ever since day one. It was not because of any political incorrectness at the time (reigning Hollywood white glamour queen goes Latino) for that hot issue didn't erupt until decades later. It was her limited range as an actress. But over the years, I have grown accustomed to Wood. Yes, despite the melodramatic leanings, the necessity of vocal dubbing (by the incomparable Marni Nixon), the flawed Puerto-Rican accent and the general overuse of Coppertone, I still feel for this Maria. What Wood does offer is utmost sincerity and heartfelt poignancy. So I'm one person who has gotten off the Natalie Wood-bashing wagon. Richard Beymer is another matter. An extremely weak, uncool choice for Tony, his toothy, freshly-scrubbed, chipmunk-like mug and awkward gait reads more like library assistant than gang member. Who would have thought Beymer would be the one to dazzle us much later in the totally cool and offbeat "Twin Peaks"? Still, Wood and Beymer commit themselves 100% and manage to create a credible, if not charismatic, love duet that doesn't get in harm's way.

Since the film's emphasis is really on dance, it's the flashy second leads who provide the real firepower. Rita Moreno's smouldering Anita ("The Nurse") is a spitfire of anger and attitude, while George Chakiris as her Shark leader boyfriend Bernardo ("Tybalt") demonstrates slick, controlled menace. Both Oscar-awarded here, Chakiris, in his debut, proved a lightweight acting talent himself, never finding a role like this again. Russ Tamblyn as Riff ("Mercutio"), the recently inaugurated leader of the Jets, is a hotbed of jaunty, scrappy impatience. Both he and Chakiris are riveting as they demonstrate poetry in motion, leading a pack of Edward Villela-like tough guys into athletic, gravity-defying dance moves.

"Romeo and Juliet vs. the 'Hood" should be required viewing for all grade-school children solely on the basis of art and education. The adults already know the value of this treasure.

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Fox 'unlocks' WSS for remake, at the behest of an interested Spielberg. drjimmyjam
Everytime I see this movie I'm reminded of the same thing: mooseboyskip
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Did anyone else feel that it should have been Maria who... elockehart
Would Ice have tried to stop the attempted rape of Anita? pancakeamiga
Maria's reaction to Nardo's death Diego_rjc
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