1st Place, Review
2021-22, Division 2, News Writing
By Ainsley Rosenburg
Occidentalist
Traverse City West Senior HS
It’s the 1950s. You find yourself walking down an alley on the poorer side of New York City. Look to the left: brightly colored dresses, fruit stands, clusters of whites and Puerto Ricans. To the right: crumbling buildings, wrecking balls, two rival bands of misfits. Look down and watch your step—don’t get caught in someone else’s territory. Look up: star crossed lovers on a balcony confessing their feelings under the cloak of night. Welcome to the
world of “West Side Story.”
2021 marks the 60th anniversary of Robert Wise’s musical film “West Side Story.” This year, Steven Speilberg directed a new rendition of playwright Arthur Laurents’ beloved musical. Staying true to the musical’s roots, Leonard Bernstein’s compositions make up the entire soundtrack. While no additional songs were added, the order of the compositions was altered. Have no fear, Maria still feels pretty, just after the Jets try to keep it cool. This adjustment allows Maria’s character arc to feel more accurate and timely, but also provides a shocking contrast with the previous scene. Juxtaposing the lighthearted song about at-traction and love with a dark scene showing the realities of hatred devises an abrupt shift in tone—an unsuccessful shift. The song does not provide comedic relief, instead a rather grim example of dramatic irony. Going against the nature of the song, this ominous undertone prevents the carefree choreography from shin-ing through.
Regardless of the progression, the songs themselves are not crippled with autotune as many movie musicals fall victim to today. Rachel Zegler, who plays Maria, gives a stunning performance both visually and audibly. The emotion she portrays on screen was amplified by her incredible range as she expressed Steven Sondheim’s lyrics. In a more negative light, the actors lip syncing is off in some scenes, most notably the balcony scene. Rather than focusing on the emotion in the actors’ eyes and movements, the discrepancy between their mouths and audio compete for attention.
Speilberg’s edition abides by the original plot, while delving more into the side characters, particularly Chino, Maria’s initial love interest. Speilberg also explores more of Tony’s past, and includes a greater presence of the women that hang around the Jets. Moving some of the focus away from the leads, and towards these other characters rationalizes their actions and character development, as well as contributes to the overall complexity of the plot.
Each role felt perfectly casted, from Officer Krupke to Bernardo. Despite facing sexual assault allegations, Ansel Elgort gave a satisfactory performance as Tony. Leaning into the more dorky, and awkward side of Tony, Elgort contrasted his actions with his romantic singing and reflective gazes. However, the true standouts were Ariana DeBose as Anita, and Mike Faist as Riff. Faist and DeBose’s performance was far superior to that of Elgort and Zegler. Neither character is blinded by love, yet neither is distant from it either. Faist portrayed Riff as someone to hate, but also pity for his slum of a social class.
Accomplishing a present day characterization of Riff’s hardships without flashing back to his childhood, was a feat Faist successfully completed. DeBose’s display of emotion was genuine and chilling as Anita’s hardships unfold in real time.
What really makes the film special is the inclusion of Rita Moreno, the original Anita from the 1961 film, as Doc’s Puerto Rican wife: Valentina. Casting a Puerto Rican woman in the role for Doc provides an interesting dynamic with the Jets. Having a woman run the shop seemingly provides more moral guidance for the gang than the original Doc ever did. Valentina serves as a link between the Sharks and the Jets as she is herself Puerto Rican, but also watched many of the Jets grow up. Valentina—a mother figure for both gangs—is a much needed character that the original film surely misses.
In contrast to the original, Puerto Rican culture is portrayed more accurately and respect-fully. This includes a greater use of Spanish. However, accompanying the accurate portrayal of culture is a newly constructed language barrier. Since most are familiar with “Romeo and Juliet,” whose plot the film follows closely, these lines aren’t important. Without knowing the story line or understanding the dialogue, the delivery and actions given by the actors make the intent clear. Even without hearing the words, the emotion is distinct.
While much of the set is similar to the original, it is utilized in different ways. Speilberg’s version exploits the set in many of the musical numbers as if the buildings, poles, and laundry were dancers themselves.
The best musical number by far was “America.” A totally reimagined scene from the original film, we start in the apartment Bernardo, Anita, and Maria share. We follow Bernardo and Anita, down the stairs as fellow Puerto Ricans join them. Going out on the streets, more and more of the community joins them. Frilly skirts, elaborate jumps, and mesmerizing spins fill the screen next as the characters bicker about their new home. No longer just a rooftop dance battle between men and women, Justin Peck’s choreography incorporates the entire street scene as we take a tour of the community.
Unlike the original, the characters don’t mime the racism they face, we see it. We see the officers giving them the eye. We see prices being raised based on their color. We see poverty. A more clear depiction of racism, Speilberg’s rendition of “America’’ truly shows the culture growing in New York, and the troubles the community faces.
On the flipside, Speilberg’s “Cool,” is a much more scaled back minimalist portrayal of the song. While not as flashy as the original, there is a more intimate focus on Riff and Tony. Not nearly as many bodies are dancing, but the routine is anything but subtle. There is visual tension between Riff and Tony as portrayed in the broken setting. With the lack of other people to distract from their dynamic, the conflicts facing Riff and Tony are seen in a much more blunt and realistic light as they weave in and out of shadows formed by splintered pieces of wood.
Neither a totally reimagined, nor a direct replica of the 1961 film, “West Side Story,” Speilberg’s “West Side Story’’ intricately weaves in minor character storylines with major ones. Outstanding performances vocally and visually help to paint a valid portrait of the reality that hatred plagues love.
NW-08. Review
Review should present opinions, observations and evaluations of films, books, television, recordings, concerts, plays, restaurants and other things of interest to the publication’s readers.
Judging Criteria
- Sharp, attention-getting lead that clarifies subject
- Gives a short summary or adequate information about subject
- Discusses strengths and weaknesses of subject
- Uses specific examples to support opinion
- Displays knowledge of subject
- Shows thought and research
- Colorful, lively presentation; effective form/style
- Proper diction/grammar