To be honest, "West Side Story" remade by Steven Spielberg was more an object of curiosity than the kind of cinematic-offer-you-cant-refuse. I could accept the premise since the Best Picture winner of 1961 was already an adaptation of the stage musical by Stephen Sondheim and Leonard Bernstein, itself an umpteenth retelling of Romeo and Juliet (which wasn't even a novelty). Such material is likely to be retouched, revisited and readapted to a modern audience and baby-boomer Steven who was enamored with the play decided to make his own version for a 2020s audience. He did well but that's not saying much.
Now, it was Godard who said the best way to criticize a film is to make your own and Spielberg's remake seems to carry some criticism against the original, and while enjoying both versions isn't an impossibility, one should question whether the changes enhance the story or not. Well, first the film doesn't take as many liberties as I expected: all the catchy songs featured in the original (practically all of them) are there... yet a few minor changes speak volumes about our world's overly sensitive mindset.
I can already imagine screenwriter Tony Kushner torturing himself with an adjective rhyming with "any girl who's not me today" during the "I feel pretty" segment until Eureka-ing with "bright" and prompting Spielberg to switch the scene from morning to night. It sounded a bit off for the word 'gay' didn't have the same connotation in the late 50s when the film is supposed to take place, that Spielberg removes it shows that he's not as much a purist as his insistance to have the Sharks talk non-subtitled Spanish implies. Sorry but either you play the full-authenticity card or you don't. Now let's get to the controversial lack of subtitles in theaters.
I saw it on Disney+ with subtitles but I can imagine the frustration in the theaters. If there's a point not to reveal the content of some exchanges, I understand, but depriving viewers from clear understanding in order to give a symbolic edge to the Puerto Ricans seems more like a guilt-trip move from a white director sucking up to the minority and it's utterly irrational. The Puerto-Rican chant might not have needed subtitles or some idioms like "guapa" or "vamos" etc, but following the same logic, wouldn't they sing "America, America" (or any songs for that matter) in Spanish then? Should we dismiss any film with foreign-speakers speaking English? Should we re-dub "Scarface"? How zealous should we get? How about suspension of disbelief, the essence of movie-making? Seriously, Spielberg's so-called respect to Spanish culture can hardly hide his desperate attempt to be 'relevant' and make the buzz through a little controversy. Not that it helped the film.
Some good points though: Rachel Ziegler was as convincing as Natalie Wood in her portrayal of the sweet and delicate (but strong-willed) Maria and while Ansel Egort as Tony didn't bring much magnetism, neither did his predecessor Richard Beymer. But "WSS" is essentially a supporting cast film and the juiciest roles belong to Riff (Josh Andres a little less charming than Russ Tamblyn), Bernardo (David Alvarez reprising George Shakiris' role) and of course, Anita (Ariana DeBose taking the part of Rita Moreno). In fact, Anita is the central protagonist who displays the widest range of emotions, she has that big sister's supporting instinct with Maria, she's strong, naughty, saucy and sassy with men, using both her tongue, her moves and dresses as deadly weapons.
And now, she belongs to these characters that won two Oscars by different actor like the Joker (Heath Ledger and Joaquin Phoenix). De Bose would succeed to Moreno, who has a small but touching role as Tony's drugstore employer. A nice touch. On the other hand, Alvarez doesn't have Shakiris' magnetism and never strikes as a gang leader.
Now, the film features a good deal deal of well-choreographed scenes and some brilliant camera-work from Spielberg, but they lacked the colors and the genuine punch of the original. The "America, America" song is one of the most iconic musicals moments of history and that it was shot in dark intimacy brightened the beautiful girls' dresses and the interactions with the boys made it look a fun inside joke, but Spielberg treats it as a Disney ensemble song shot in broad daylight... as for the "Tonight" song, I was so turned on by Rita Moreno putting on her stockings and saying she would get her kicks (for her little private mix), that I couldn't forgive they made her whisper that line in a church. The joke relieved that moment from its hot sexual tension.
Speaking of DeBose, not saying she wasn't good, she nailed the part but her Oscar win confirmed a certain trajectory taken by the Oscars lately making the Best Supporting Actress the most predictable slot. It seems that all it takes is to have a female character a little more charismatic than the heroine, and that's it. De Bose seems to have fun being Anita, overplaying her accent and intonations and I wish there could be one silent scene that showcases her dramatic ability, there was such a moment, it lasted only three seconds.
Anyway, it's worth watching this version to realize how the original stood the test of time, this one is a bit weaker but to the degree that it remained faithful to the original I kind of appreciated it, to the degree it tried to insert some relevant issues (although the tomboy girl seemed forced and gratuitous), I understood it, but to the degree that I like to rewatch masterpieces, I'll stick with the original. If anything, this film made me want to rewatch the 1961 classic.
Now, it was Godard who said the best way to criticize a film is to make your own and Spielberg's remake seems to carry some criticism against the original, and while enjoying both versions isn't an impossibility, one should question whether the changes enhance the story or not. Well, first the film doesn't take as many liberties as I expected: all the catchy songs featured in the original (practically all of them) are there... yet a few minor changes speak volumes about our world's overly sensitive mindset.
I can already imagine screenwriter Tony Kushner torturing himself with an adjective rhyming with "any girl who's not me today" during the "I feel pretty" segment until Eureka-ing with "bright" and prompting Spielberg to switch the scene from morning to night. It sounded a bit off for the word 'gay' didn't have the same connotation in the late 50s when the film is supposed to take place, that Spielberg removes it shows that he's not as much a purist as his insistance to have the Sharks talk non-subtitled Spanish implies. Sorry but either you play the full-authenticity card or you don't. Now let's get to the controversial lack of subtitles in theaters.
I saw it on Disney+ with subtitles but I can imagine the frustration in the theaters. If there's a point not to reveal the content of some exchanges, I understand, but depriving viewers from clear understanding in order to give a symbolic edge to the Puerto Ricans seems more like a guilt-trip move from a white director sucking up to the minority and it's utterly irrational. The Puerto-Rican chant might not have needed subtitles or some idioms like "guapa" or "vamos" etc, but following the same logic, wouldn't they sing "America, America" (or any songs for that matter) in Spanish then? Should we dismiss any film with foreign-speakers speaking English? Should we re-dub "Scarface"? How zealous should we get? How about suspension of disbelief, the essence of movie-making? Seriously, Spielberg's so-called respect to Spanish culture can hardly hide his desperate attempt to be 'relevant' and make the buzz through a little controversy. Not that it helped the film.
Some good points though: Rachel Ziegler was as convincing as Natalie Wood in her portrayal of the sweet and delicate (but strong-willed) Maria and while Ansel Egort as Tony didn't bring much magnetism, neither did his predecessor Richard Beymer. But "WSS" is essentially a supporting cast film and the juiciest roles belong to Riff (Josh Andres a little less charming than Russ Tamblyn), Bernardo (David Alvarez reprising George Shakiris' role) and of course, Anita (Ariana DeBose taking the part of Rita Moreno). In fact, Anita is the central protagonist who displays the widest range of emotions, she has that big sister's supporting instinct with Maria, she's strong, naughty, saucy and sassy with men, using both her tongue, her moves and dresses as deadly weapons.
And now, she belongs to these characters that won two Oscars by different actor like the Joker (Heath Ledger and Joaquin Phoenix). De Bose would succeed to Moreno, who has a small but touching role as Tony's drugstore employer. A nice touch. On the other hand, Alvarez doesn't have Shakiris' magnetism and never strikes as a gang leader.
Now, the film features a good deal deal of well-choreographed scenes and some brilliant camera-work from Spielberg, but they lacked the colors and the genuine punch of the original. The "America, America" song is one of the most iconic musicals moments of history and that it was shot in dark intimacy brightened the beautiful girls' dresses and the interactions with the boys made it look a fun inside joke, but Spielberg treats it as a Disney ensemble song shot in broad daylight... as for the "Tonight" song, I was so turned on by Rita Moreno putting on her stockings and saying she would get her kicks (for her little private mix), that I couldn't forgive they made her whisper that line in a church. The joke relieved that moment from its hot sexual tension.
Speaking of DeBose, not saying she wasn't good, she nailed the part but her Oscar win confirmed a certain trajectory taken by the Oscars lately making the Best Supporting Actress the most predictable slot. It seems that all it takes is to have a female character a little more charismatic than the heroine, and that's it. De Bose seems to have fun being Anita, overplaying her accent and intonations and I wish there could be one silent scene that showcases her dramatic ability, there was such a moment, it lasted only three seconds.
Anyway, it's worth watching this version to realize how the original stood the test of time, this one is a bit weaker but to the degree that it remained faithful to the original I kind of appreciated it, to the degree it tried to insert some relevant issues (although the tomboy girl seemed forced and gratuitous), I understood it, but to the degree that I like to rewatch masterpieces, I'll stick with the original. If anything, this film made me want to rewatch the 1961 classic.