WEST SIDE STORY (2021) - Movie Review

[@pegacorn13]

I agree with you on a lot of points here. There's nothing that can beat the early 60's aesthetic of the the original film. I also think "Cool" is far better in the 1961 version and while Ariana DeBose was indeed fantastic as Anita, Rita Moreno WAS Anita and those are some impossible shoes to fill. In addition, "I Feel Pretty" works so much better before the rumble. On the other hand, I thought the characters of Anybodys and Chino were far superior in Spielberg's version and I loved Rita Moreno as Valentina (although I'm still conflicted about her singing "There's a Place for Us"). The aesthetic may not be the same but the 2021 take is stunningly beautiful in its own right. The 1961 version will always live in my heart but when I watch it now, the brown face bothers me so much. So in that respect, the 2021 film gets a gigantic win. All in all, I love them both. The music is what makes West Side Story so iconic and in the end, the songs remain the same. I just watched Spielberg's film with my son and next up is the original. I can't believe how OBSESSED he is with it after only one watch. He has been singing those songs for 4 days straight now: it just shows what a masterpiece West Side Story is.

[@michaelz9892]

Just saw the film and was inspired to see so much artistry. I defend Elgort- I actually liked him better than I expected to.

[@glawnow1959]

I might agree that this is Spielberg's first musical, but he has filmed musical numbers in his earlier work. If you can, go back and check out "1941," especially the diner kitchen dancing of Bobby DiCicco and the "Swing Swing Swing" USO number.

[@NoName-jq7tj]

I just watched this today at a theatre today. In an era of reboots this remake goes beyond this. West Side Story 2021 is a brilliant film with tremendous set designs. The photography is beautiful. The music is brilliant.

[@saltech3444]

I have a West Side Story anecdote that is only of interest to jazz nerds. I have an obscure bootleg of Miles Davis concerts from 1958, which is pretty good. Multiple times during improvised soloes you can hear Miles quoting the song "Maria" from West Side Story. It didn't click with me for a while that Miles's wife at the time, Frances Davis, was playing Maria in West Side Story on Broadway in 1958, and clearly Miles had been hearing that music very frequently around that time. You may now take my lunch money.

[@Suite_annamite]

There's something distinctively silly - not to mention ignorant - about how we in the English-speaking world view "race", but that is what drives one of the main conflicts in this whole story, be it this one or the original from 1961: with the premise being "whites vs. Puerto Ricans". Since when are Puerto Ricans and Cubans not white? They usually are; but they just happen to not be plain potato white, but "spicy, exotic" white. Dominicans certainly know what I mean, and know where they fit in with the Spanish Caribbean. Here in Canada, the French also have flexible and more subtle notions about who is "white": they usually think Middle Easterners and North Africans are white, something which would baffle English-Irish Canadians, who are much more narrow with who they think "looks like them". *PS:* If I may cultivate some humble bragging, I was lucky enough to very briefly "date" someone would be later become a relatively recent "Miss Universe Puerto Rico": while she towers over me, she was gracious enough to give me a few lucky days scattered over a few months! We met each other at school and work 9 years ago before she went back home and made herself relatively famous! We used to keep in touch now and again until about 2018 or so.

[@relevantfilmscreative]

Steven did an amazing job with the film. I got a chance to see it as a Directors Guild as I’m a member and one thing he said during the question and answer section really stuck with me. He mentioned that the 1961 film was a film for all time and the version that he created was a film for our time and I think that in a nutshell explains some of the creative differences between the two films. But nobody moves a camera like he does.

[@williamblakehall5566]

I'm so glad you got something out of this. This was a movie I didn't think I needed and it still packed a wallop. The music continues to be insanely perfect and solid and worth sitting down to. I liked how dances which used to be relegated to big blank playgrounds and rooftops blended into street scenes. Lots of pluses and minuses. On the one hand, I missed Chakiris. On the other hand, I fully bought Rachel Zegler. Thank you!

[@cameliomack9932]

Excellent, honest review. And its a shame that with such stunning visuals, and many strong secondary performances, that the movie flops because the "chemistry" just doesn't work. I was unpleasantly shocked by two things. Not having Maria sing "Somewhere" even once. Second, the insertion of "I feel pretty" after the death of two people. It just felt off. Also, Ansel was miscast.

[@gpapa31]

I totally agree on Ansel’s miscast, the rest stood per the original Broadway play.

[@classiclife7204]

Well, this is the seal of approval for me. I was not terribly interested in this, figuring it was done comprehensively the first time, but you make a great argument for a remake being worthwhile and the movie being worth watching (despite flaws, but as you say, the first version had flaws, too).

[@louisaparker]

But did you notice that blue dress?

[@soniachapple3141]

Agree with you about Mike Faist as Riff … he was the best on screen for me. His version was sooo believable and wish we’d seen him sing more. Cool for me was superbly shot, choreographed and sung. Also you are spot on with the dancing in this remake … for me it was too chaotic and not as clean. Still good but I prefer the original movies dancing cos it was cleaner, more graceful and just more balletic. I thought Justin went with more of a jazz style more just cos this version is darker/grittier and so the balletic graceful lines of Jerome’s chorey wouldn’t have worked in this remake. Adore the original movie (despite its issues with the makeup etc) but also enjoyed this version too. If you can separate the two and just watch them on their own merit, then they’re both great. But for me … the original despite its problems just pips this remake. Great review

[@gpapa31]

Great point you made about the choreography style and differences between the two versions. Apparently that’s what Spielberg and Kaminski (cinematographer) wanted to achieve hence the continuous moving camera, dollies, push ins through the dancers, crane shots etc. They wanted to place the audience on the dance floor, become part of the act and feel the energy and tension. The drawback with that technique is that it misses the choreography as a whole, it’s hard for the camera when it’s inside the dance to capture the whole group. But that didn’t matter that much anyway given that Justin Peck’s choreography was less synchronised ballet like and more carefree/freestyle (for lack of a better word). Spielberg wanted to make WSS choreography more bound to the real world as possible and less to the stage but without losing the elegance and artistry of a stage act that much. It felt that a less gymnastic/ballet style and more freestyle dance act is what suited street gang members more. Wise went for the full stage-like approach with wide 70mm static outside looking in from a far shots with minimal movement and zoom ins. He wanted to place the audience on the theater seats and let them admire the choreography/artistry in its entirety and full force, like a perfectly conducted symphony orchestra performing in front of you. Robbins’s choreography was clinical, every single movement and every single dancer synchronised to perfection with ballet, liquid and flawless movement. That type of choreography DEMANDED wide group shots, it would have killed the vibe and purpose of Wise’s vision for the film had it followed Spielberg’s approach. I feel both filmmakers, and their teams, achieved what they had envisioned. It’s up to us, the audience to interpret it that way and not make comparisons between the two films, and just choose which adaptation suits us best. I personally marvel and admire Wise/Robbins’ incredible and unmatched work and see it for what it is, a perfect transfer (technically) of a stage play to the big screen that no one will ever surpass. Nevertheless, I will have to go with Spielberg’s more cinematic, more gritty and grounded to reality approach. It still has its flaws (especially the third act) but to me I feel more immersed and attached to the story than with Wise’s version.

[@soniachapple3141]

@@gpapa31 thank you for all that info but as a dancer and dance teacher … I prefer the original dance style because, to me, it looks cleaner and more graceful. The impact of seeing the ensemble dance together was superb and 🤯 I understand why Spielberg went the way he did (it fit the storyline and the realism he was going for much better) and he did it beautifully but for me I just missed seeing the whole ensemble dance. That’s what made Dance at the Gym and America so iconic and for me, in this remake they just fell a little flat … not because of the dancing but because of the camera angles. I adore both versions … for different reasons. The original for its iconic superb dancing and the remake for the storyline .. and of course for giving us Mike Faist in all his glory 🙌🏼

[@gpapa31]

@@soniachapple3141 different strokes for different folks as they say. I can see your point snd this is what I marvel whenever I watch the 1961 version, the fluidity snd perfection of the choreography, something that has never been replicated in any other musical by Hollywood. Robbins was a perfectionist, that’s why he was fired from the film production apparently. I will disagree with the Gym and America dancing acts, I found the 2021 version far more engaging, energetic and immersive. Especially in the America dance number I didn’t want it to end. So much life snd the idea of bringing it out on the streets with the rest of the neighbourhood getting involved made the number huge. The only drawback with the Gym act was that it felt kind of short compared to the 1961 version. I also loved the music arrangement of this one more. I have the 1961 WSS CD at home and been listening it to ever since I was a kid in the 80s. With the new one out I doubt I will ever go back to that version, the singing alone on the new one is on another level all together.

[@DS8379]

Fantastic review! You hit it right on the head - it is hard to find good, open minded critics here on youtube, but your criticism is always a joy to listen to.

[@denniszenanywhere]

I just saw it. I agree with you. Faist's Riff is the best part of the movie for all the things you said. I agree with all your points.

[@kevinbailey8827]

I think the cutting during "Cool" really worked for me. I don't dislike how it's done in the 1961 movie, but I also like how they used it here. Tony is trying to cool down the situation, and he asserts dominance over Riff by taking the gun away. By the end of the dance, Riff has the gun again, and both of them come to realize that Riff is the true leader of the Jets. They don't need Tony (except to fulfill Bernardo's demand that Tony be present). The way the number is cut didn't ever make me feel lost. It's not a big production number. Mainly two guys. Occasionally a couple more. It's presented as a fight scene, because it is also that. And it's kind of nice to have a fight scene that looks choreographed, because the big fight is coming soon, and that one needs to NOT look like a dance.

[@broyce1981]

Just finished watching this and came to see your review. I had the exact same thought as I kept thinking about John Mulaney when Riff was on screen.

[@TheMigalito]

I could tell just by the thumbnail to the video...that you liked it. 😊 I too....have an intimate relationship with West Side Story. I watched it as a sensitive quiet boy in a large family in the 70s in Canada. It was such an inpactful story for me...it's impossible NOT to see it's effects. I ended up marrying a latina, my Maria. Lol. Although it eventually ended, after decades we are still close and she calls every birthday. Ill stop there on the personal effect. Artistically...a masterpeace that has no equal. It pulls you in fully and never lets go. AFTER seeing it 50 times or more....I STILL CRY instantly on que when Natalie Wood screams out in grief.... " Dont you touch him! " Waterworks. 😆 IM SOLD.... I'm excited to see this new version...thank you. 😊🙏

[@neilward5825]

Such a good review. Your reviews are so insightful and thorough. I agreed with you on almost everything. Although I thought Elgort's singing was pretty good. I also thought the treatment of Cool was inspired and provided Riff with one of his stand out moments in a superb performance- that little tap dance filled with violent angst in a display of contempt for his former best friend. Also the way that number starts playfully, but quickly becomes a violent struggle for the gun- you can feel the tension ratcheting up. Bernstein's music here employs a trick used by the great opera composers, where the music subverts the lyrics, as it becomes increasingly violent and staccato while the lyrics implore coolness. Spielberg gets that with his camera work, the choreography of the dancing and the use of the gun as prop. The way we see the final cut to Elgort's teary eyed face, with a J cut of the detective's dialogue and the opening music of the quintet before we cut to the police station is classic Spielberg story telling which has always been full of musical beats.

[@dirkluchtman]

My personal opinion: I think the 2021 West Side Story is pretty much flawless, brilliant and very exciting from the opening till after the Krupke song (probably altogether about 1,5h). It then loses a bit of steam and excitement as it gets to the One Hand, One Heart song and the rather anti-climactic Cool sequence (compared to the 1961 version). The rumble I think is extremely well done and acted (vastly better than the 1961 version) and from then on, the movie progresses somewhat unbalanced through the final act. I think this last act would also be very close to perfect were it not for the slightly distracting effect of the placement of I feel pretty (right when the tension and drama is at its highest point) and as you say, the last minutes are a bit rushed and feel somewhat emotionally flat, despite Zegler’s best efforts. Comparing it the 1961 version; I much prefer the newer version, which is more gritty, lively, realistic, layered and overall, I think better performed. The I feel pretty song feels out of place, but the irony of it right after the rumble does work tragically (especially upon subsequent viewing). I love that Rita sings Somewhere, it works to great dramatic effect. Elgort gets a lot of criticism, but I think he was well casted. Yes, he is not overly charismatic but that makes for an interesting contrast with the rest of the cast; more introverted and understated as you say. His reaction to the news about Maria seems a bit bonkers, but who knows how anyone would react in such extreme circumstances. However, I do feel his reaction comes too quickly; in reality there probably would be denial at first. I heard that Tony Kushner wrote pages of backstories to each character to give the actors context and find it a real shame he was not nominated for best adapted screenplay at the Oscars. Final verdict: West Side Story 2021 is definitely one of my all-time favorite movies and in Spielberg’s top 5. I am a bit frustrated the movie is not as very brilliant as it could have been, but find it a masterpiece, nonetheless. PS., love your channel!

[@gpapa31]

I keep seeing the word “remake” thrown around in the comments in a fashion that portrays a crime against the arts was committed for putting WSS on film for a second time. Did people reacted like that when popular stage musicals like Phantom Of The Opera, Les Miserables, Beauty And The Beast, Chicago, Romeo And Juliet, Cyrano, Moulin Rouges, Pinocchio etc were “remade, some of them, for the 30th time? Spielberg and Kushner have said on numerous occasions that this is another adaptation based of Arthur Laurents Book and the 1957 Broadway stage play. This film shares nothing with the 1961 film by Wise. The choreography is different, the musical arrangement by Gustavo Dudamel is different, some of the lyrics in the songs are different, the sequence of how the dance numbers are featured is different, some of the locations those dance numbers take place in are different, the dialogue and script is different (apart from Maria’s monologue), even some of the characters backstory is different. Hell, even Moreno’s character as Valentina in place of Doc is a different twist to the story. Ok the core story is the same but that doesn’t make it a remake of the 1961 film.

[@justemichel]

I'm so glad you call West Side Story an opera.

[@josephdegrandpre3883]

A very refreshing, fair, and insightful review on this reinterpretation of a modern classic as well as retrospective thoughts on the original. Great job there Maggie! 👍

[@Suite_annamite]

It's interesting how Rita Moreno was in both the original and in this recent remake 60 years later! Just like Jessica Harper was in both the first "Suspiria" and the later one, though playing another role. While they weren't re-casted to play at least something in the new WSS, both Russ "Riff" Tamblyn and George "Bernardo" Chakiris are not only still around, they both apparently approve of the new movie according to how they both recorded themselves reacting to the trailer. Chakiris still looks young and spritly for a 90-year-old!

[@Mido-128]

I watched the 1961 version for the first time recently, and was surprised to see two actors from Twin Peaks. It wouldn’t surprise me if Lynch was a fan of that movie.

[@ndogg20]

The opening of the 1961 WSS is breath taking. Still my favorite. As for the rest of the film, I just skip through to the dance at the gym and the rooftop America scenes. As Roger Ebert put it when listing best musicals, when was the last time you actually watched WSS? Or for me watched the whole thing, its just too long, the acting and dialogue are bland. Looking forward to Spielberg's version.

[@filmlover1349]

Great and detailed review as always Maggie! Keep up the good work! Love ur passion towards film. 👍

[@Suite_annamite]

@9:23: *Martial arts* indeed *are dancing* in not only Asian aesthetics, but also in the languages. Usually the verb "to dance" employed for any action that is rehearsed, choreographed, or simply practiced.

[@kidmarine7329]

I’m so glad you enjoyed this particularly with the recent passing of Stephen Sondheim.

[@aguyinadormroom418]

I want to see this movie so bad! Great review btw, keep it up! I do reviews on my channel as well, and if you see this, I was wondering how you got your start and how did you get people to start seeing your videos?

[@kevinbailey8827]

I liked Ansel Elgort in this. I get what you're saying about his reaction to being told Maria was killed. Maybe his performance was even worse than what we saw. It was strangely edited. It cut away from him too soon to show Rita Moreno instead. And it never cuts back: you just hear him running up the stairs.

[@ColombianThunder]

Great to hear it's actually good. Honestly expected this movie was just gonna be another forgettable remake.

[@robsavage3217]

Great review. Although when it comes to the original, I'm with Ron Bock - I quite liked Russ Tamblyn as Riff. I'm not familiar with the original stage production so Tamblyn is the only Riff I've ever known. But it's hard for me to picture someone else nailing the lyrics to Gee, Officer Krupke. "It's not I'm anti-social. I'm only anti-work." 😁

[@lacrimatorium]

Great review Maggie. Just saw it yesterday literally alone in a movie theatre here in Tbilisi, where I don't think any promotion was done at all, including the trailer. I was quite surprised by how good it was. I noticed a couple sops to modern times that I could have lived without, but over all I do believe there are many ways that this improves on the original. Maria is clearly superior, Riff I agree totally magnetic, Anita stunning, Bernardo I thought a bit more human. The violence felt stronger.The music was well conducted with just enough difference to stand out, yet retaining Bernstein's majesty. Tony is indeed the problem. Always was. I do feel Elgort's performance was slightly better them Beimer's, but that's not saying much. I think the problem is with the conception of Tony. In both versions he doesn't feel like he was ever a Jet. They are all wisecracking JDs a la the 50s. He needed to be re-imagined with more edge and humor. You have to believe that he and Riff were best friends. A few noticeable changes that didn't quite equal the original for me. I missed Doc, who is in no way a romantic character. He functions as the Prince, and brings a hint of the Holocaust. And I completely agree with you about the placement of the song 'Cool'. In the 1961 version it is perfect after the rumble, more menacing and cool. Here it is more an anti-gun statement. And finally I do disagree with you about Officer Krupke was not as strong as the original, with several inexplicable lyric changes. But overall I agree. They stand side by side. Get thou to a movie theatre!

[@audramcdonaldapologist3676]

Doc isn’t the function of the Prince he is the function for Friar Laurence, Lieutenant Schrank functions as the Prince

[@lacrimatorium]

@@audramcdonaldapologist3676 Yeah your probably right. Still missed him.

[@jenniferwise8515]

You have not seen it right? Tony is EXACTLY the former Jets leader in the rumble scene.

[@lacrimatorium]

@@jenniferwise8515 Yes I did see it. And no he doesn't have the swagger he'd need to rule a gang of guys like that.

[@etherealtb6021]

Grew up obsessed with the 1961 version and I love this companion piece now. I can't wait to see it again. Planning on going again this weekend! But the one thing I do agree I like better in the 1961 version is the choreography. Not that this movie's isn't outstanding, but fricking Jerome Robbins, man! How can anyone compete? 🤷‍♀️

[@soniachapple3141]

Agree wholeheartedly with you about the choreography … I preferred the 61 dancing much better. I mean no one can compete with Jerome. The ‘61 dancing is cleaner, more graceful and the balletic lines just looked more complete (and everyone nails it). I think Justin Peck chose the jazz style instead was cos it fit with the darker / grittier feel of this remake and he knows it’d be difficult to compete so he chose a different style.

[@etherealtb6021]

@@soniachapple3141 100%. The choreo in the new version is fantastic, but not done well top Robbins. Like the Cool dance - one of the greatest dances ever caught on film - it was smart of Spielberg to make it 100% different and with a different storyline.

[@Grisostomo06]

I'm glad somebody finally pointed out the fundamental problem with the character Tony. He is poorly written. He just doesn't come across as a gang leader unlike Riff who IS tough and charismatic. I haven't seen this version of WSS but I have seen the 1961 version and I don't think the problem lies with the actor Richard Beymer. I don't think he was given a lot to work with so his relationship with both his second in command Riff and with Maria doesn't seem authentic.

[@skullone4095]

I disagree with you on so much, but feeling your passion and intelligence makes it less annoying on some of your takes that feel a bit dumb. It makes it far easier to respect your opinion and thoughts. Very interesting review, definitely appreciate your passion.

[@ronbock8291]

I’m more of a Sondheim guy myself, so seeing Sondheim sing the praises of Tony Kushner’s book before he died caught my attention. Still on the fence though, I don’t love the original as a film myself. Ironically, I liked Russ Tamblyn, but I know what you’re saying.

[@Ensign_Smith]

I was waiting for your review, knowing I could trust your judgment especially for *this* film. I'm sold. Can't wait to see this!

[@davidchastang3895]

WARNING: SPOILER ALERT, IF YOU HAVEN'T SEEN THE MOVIE YOU MAY WANT TO BYPASS MY REMARKS. This movie has been a huge part of my life also, since I first saw it when I was 9 or 10. I enjoyed it but several things were puzzling to me. Why was "Boy, Boy, Crazy Boy" BEFORE the rumble in this version? That song was a reaction by the Jets to what happened at the rumble. Why did Spielberg decided to use the Broadway version of the first lyric to America, then use the lyrics of the '61 movie the rest of the way? Didn't like or understand the date Tony and Maria went out on, maybe that was part of the Broadway play. In that scene they have the mock wedding that was done in the dress shop where Maria worked, I thought that was much more intimate, one of my favorite scenes. Womb to tomb....birth to earth. Again changed to the original Broadway version which was Womb to tomb....sperm to worm, that sounds stupid. Didn't see the need for that change. Lastly, when Riff gets stabbed by Bernardo, he reaches to Tony, handing him the knife before he goes down, IMO that should have remained....he's telling his brother to avenge his death. Instead Riff stands there, smiles and continues talking for about 5 seconds then falls. Also that great scene at Doc's where the rumble negotiations are interrupted by Lieutenant Schrank is completely omitted. Singing was pretty good, but no comparison to the incredible singing in the '61 movie. Just some things a long time West Side Story fans noticed.

[@Kasino80]

In the original Broadway show, Cool was about keeping it cool during the battle. That they switched it to a song about reacting to the deaths is one of the better choices in the original film.

[@davidchastang3895]

@@Kasino80 I agree, I have never seen the original Broadway show but I have listened to the original cast soundtrack. Of the three, the original movie's musical performances are hands down the best. I was really nervous about Spielberg's remake for the reasons you mentioned but he did do a great job. The original movie, however, is still in a league of it's own. BTW, loved your review!!

[@Kasino80]

@@davidchastang3895 having finally watched it all the way through...I kinda get why Cool is placed where it is. The dance number start out playfully between Riff and Tony, but it takes a turn where Tony's perceived betrayal gets really palpable.

[@davidchastang3895]

@@Kasino80 Yes, Spielberg did a great job expanding the characters, didn't expect what he did with Chino!

[@Kasino80]

@@davidchastang3895 agreed, chino is in my book perhaps the most tragic character

[@JohnHoulgate]

I agree with you about Tony. It's very hard to stand out as an actor in that role. I doubt anyone can really improve the character.

[@pilates68]

Such a well articulated review. I completely agree with you. I think the real treat here is the NY Philharmonic and Gustavo Dudamel’s re-orchestration and arrangements of Bernstein’s score. I think it sounds magnificent. But I also left the theater thinking that perhaps the cynical and jaded sensibility of the 21st century could never suspend its disbelief long enough to become emotionally invested in, and take seriously, this love story.

[@sachinarora5606]

Great review, looking forward to watching it. If you really like cinematic musicals, you should check out Ingmar Bergman's adaptation of "the magic flute", it's a perfect marriage between the story of the opera as well as reinforcing on what makes Bergman so great

[@alangil40]

I really enjoyed your review and it is very much in sync with my thoughts. I completely agree with you on "Cool", it was my biggest letdown in the new film. I went back and watched the original "Cool" on KZbin three times, the choreography is terrific and it does work so much better in terms of tension and feel after the rumble. I think the original Prologue is a masterpiece of cinematography and dance. I get why they wanted the Prologue in the new film to be more realistic and it still works, but when I went back and watched the original Prologue, I realized how much more dance there was in it. Other than that the new film did a very good job with the musical numbers, and I agree with your takes on "America", "Officer Krupke" and the placement of "I Feel Pretty". One other issue is not reprising "There is a Place For Us" when Tony is shot, I think that song there is more powerful than what was used in the new film. Having said all that, the new film does add more back story and updates the dialogue in ways that will appeal more to modern audiences. To me the two standout characters were Riff and Anita - I think Ariana DeBose was fantastic. I admit though when I left the theatre, there was a feeling of "I didn't really need this", perhaps because I am older now and the well trodden themes just can't have the same resonance as they did when I was a teenager. But I hope a new audience finds this and appreciates Bernstein's musical legacy.

[@classicvideogoodies]

I like everything about West Side Story except the song "A Boy Like That." Bad melody, bad lyric. A song like that, which pissed my brother; he left the room, to hear another. But then, there are so many brilliant songs in the production that I cut it some slack. My favorite moments: after the Puerto Ricans sing the rebellious "America," the white kids sing the equally memorable "We are sick, we are sick, we are sick, sick, sick!".

[@badinfluence3814]

I agree about 'A Boy Like That', the one song I don't like at all.

[@javierpizarro9852]

A few things… Like you said Spielberg has a comprehensive understanding of old American cinema so he at least has an idea of how musicals are supposed to feel. But I also believe he’s always had a good sense of rhythm when it comes to editing and blocking, AND is more comfortable with using musical score than some of his contemporaries. So in hindsight, this seems like a natural fit for him.

[@javierpizarro9852]

Also side note while Spielberg did lose a bit of his 70s edge in the 80s and 90s, judging by later films like Munich or War of the Worlds (flawed as they may be), he didn’t lose it completely. He still has the ability to depict violence with honesty. I guess he just needed a project like this.

[@kurtrivero368]

@@javierpizarro9852 Don’t forget Minority Report, one of the best films from the latter part of his career.

[@alexanderg1297]

Something about Rita Moreno being the one to tell Tony that Maria died hit me. Of course, Moreno isn’t playing Anita but having her deliver that final blow to this film like felt poetic, and right. All and all not bad. And I Riff and The Jets in this version are far better.

[@65g4]

I knew you wouldnt be easy to please with this one loving the original film and the stage play. Im glad you liked this one. I loved the original and ive seen it on stage as well which was great. Im seeing this film on boxing day thats when it comes out here in New Zealand.

[@hermanios2152]

Can you PLEASE do a review of Wes Anderson’s The French Dispatch? If it makes it easier, the digital release comes out in a few days! Would love to hear your opinion on it as it is a very divisive film.

[@alexanderg1297]

the Most Wes Anderson-y Wes Anderson Movie of All Time. For good and for bad.

[@upfulsoul826]

Nice review. I need to watch the original.

[@theolamp5312]

Maggie you have me interested in seeing this. As with many great films I wonder why remake it ?

[@sweetajeng]

I was skeptical at first, but i watched it anyway and i think it's a good nostalgia. I agree with you, there are some things better than the original movie and there are some things that the original movie done better (especially the last 20-30 minutes)

[@westfieldartworks8188]

I was actually thinking about going to see it tonight. You talked me out of it.

[@eddiegalon3714]

Aaron Copland's ballet Billy the Kid I feel is the greatest American classical piece, but Im with you on your love of the score to WSS. it's a masterpiece for sure....and guess who was Bernstein's mentor? Copland!

[@hoibsh21]

If Tony Danza played Tony it would've been even better.

[@JohnHoulgate]

Tony is a cursed role. I seriously doubt Tony Danza would improve on it.

[@jenniferwise8515]

Tony Danza is way too old to play it.

[@KristofskiKabuki]

I'm so glad you said what you did about Cool, I was really enjoying it up until then (awkward subway journey and all), but that's when it lost me and I could never get back on board. I feel like even the orchestra in that one sounded more like they were doing wanky noodly jazz rather than it being a powerful sonic interpretation of the boys' mental state

[@marlonthemarvellous]

I wasn't going to watch this new film because I so loved the original. Esp Rita Moreno. But you have convinced me to watch!!!!

[@dannyf.8982]

I thought the actor who played Chino was really good as well.

[@jainee4507]

I have no interest in this film but its nice to hear that Spielberg has another hit after nearly two decades of so-so films.

[@gpapa31]

“Two decades of so and so films” So A.I., Minority Report, Munich, Lincoln and Bridge of Spies are so and so films, ok…. 😂

[@jainee4507]

@@gpapa31 Minority Report was his last good film imo and that was 2002. Everything since then has been mostly forgettable.

[@gpapa31]

@@jainee4507 IMHO Munich is his darkest and best shot film to this day (yes better shot and darker than Schindler’s List) with a, uncharacteristically for Spielberg, very cynic ending. Note: I haven’t seen WSS so I cannot be the judge of that. But ok, let’s agree to disagree.

[@jainee4507]

@@gpapa31 I never said he was making bad films, I said they were so-so which I stand by.

[@gpapa31]

@@jainee4507 and I respectfully disagree. IMHO the films I listed rate from absolutely brilliant to very good. The rest of the stuff in those 20 years are forgettable and average for me too. Exception is Tintin. I was a fan of the comic book as a kid and I found he did real justice to it. It’s a brilliant animated homage to one of the most important European comic book characters.

[@AndrewWatsonChangingWay]

Lyrics, of course, by Stephen Sondheim. Which movies would you recommend to the Sondheim-curious?

[@steverok67]

I think it is very good, and its existence is warranted. The film packs a punch, like the original, and surpasses it in more than one aspect. However, I would say the three greatest numbers, "America", "Officer Krupke", and "Cool", were all vastly superior in the original film. The new film could have been great, but instead, it is very good. Both versions tie me in knots, and are two of the very best musical films I have seen.

[@leafodan3730]

I’m excited to see this. I’m a big fan of the original film and the soundtrack.

[@dennyyshmael]

I thought I heard the Spielberg film is based on the play and not a remake of the 1961 film version

[@vernonroche7067]

First!!! I forgot how beautiful you are haven't seen your channel in a minute 👏 great review by you as always

[@MrShaiya96]

the review was posted 3 minutes ago, & its 24 minutes long. which means you haven't seen the whole thing yet. 🤔 so how it is a "great review"? also... simp

[@vernonroche7067]

@@MrShaiya96 oh shit look we got someone who thinks I give af about what they gotta say 🙃

[@flamingocupproductions5329]

have you seen the martin scorsese music video for michael jackson's bad? it is obviously very inspired by west side story.

[@MrChristopherLock]

Because you've repeated it a half-dozen times: Spielberg was nominated for the Academy Awards for The Color Purple which, while not technically being a musical, has many musical numbers of song and choreographed camera work it was often described as "wanting to be a musical." So, you are technically right but may want to watch and mention this 80's gem.

[@loomPEDAL]

This is so good to hear. I know how much you love the original so this is high praise indeed.

[@jamesonstalanthasyu]

Heh, that line of dance vs martial arts, I do think they did it better here. The "gangs" here look more muscular and fit as opposed to the more wispy folks from 1961. Wrt Ansel and Rachel, they both felt the weakest in the acting, Ansel has done better in other films. Rachel has more potential, at least in how they hyped how good she was. Song and dancing was very good different from 1961 but not a bad different.

[@ed1rko17]

I can't wait to see it. I liked the original, but I just saw it for the first time this year, and I gotta be honest that some of it was really goofy and cringey to watch. Partially because aspects are very dated, and as you say, Tony was just hard to watch. I'm so excited for this film because I feel I'll have a more real appreciation for the story given that Spielberg will probably fix those issues that I had with the original. Not only that, but it's Spielberg, so you know he's gonna kill it.

[@DeathCosmosGuy]

Spielberg's resume is variegated and for that reason, he's definitely my favorite director of all time. I like how he can make a cinematic gem no matter the genre.

[@WhyWeWatch1]

"Tony and Maria are boring." I haven't seen the original in like 10 years, so my thing with Tony and Maria is that there's no good way to do a straightforward Romeo & Juliet story now because it's a fast, toxic relationship. So, I was wondering if/how they could change that. You really can't because it ruins the tone, and Spielberg nailed that tone. You just kinda writing their romance off works for me I like how you defended Elgort's performance. I didn't like that he was doing what he was doing in Baby Driver, contrasted with the rest of the very lively Jets and Sharks, but this is a great explanation. His singing didn't work for me either

[@stevendelopoulos]

Love your reviews . Just subscribed !

[@deadANTdeadANT]

I agree Leonard Bernstein was one of the greatest composers of the 20th century, but (@ 1:32) I'm just curious what you meant by the original film nor this film can match his brilliance, did they not use his score for that and this film? (Maybe u just mean the films themselves are not as good as the score which accompanies them?)

[@tnan123]

Will definitely try to go out and see this! Might actually be the movie that has me finally returning to the movie theater.

[@raminagrobis6112]

I could watch Deep Focus Lens read the NYC phonebook with the same constant interest. Love your wardrobe. You were ready to do a double feature ☺️... I mean reviewing the 2 versions of WSS. You are great.

[@THEPETERC1]

May you live to see the re-release of Porgy and Bess (1959).

[@corailgris]

Oh dear, I love your passion, your grace, your sharp intelligence...to me you're the perfect woman.

[@rodneyholmes720]

Awesome review. Best, I've seen. Quality.

[@rickcaruso7351]

This is a brilliant and intelligent review. Very impressed.

[@wcnest]

That was one amazing review 👏

[@TMQEntertainment]

I had a lot of interest in this movie but it's nice to know that Spielberg has another hit after nearly two decades of making such a film.

[@ironmaiden3812]

Box office bomb!!! The original was perfect know one asked for the 🎥 to be remade.

[@eljahsiemallah]

I agree with you about Cool. Steven screwed up on that one. He should have kept it the way the original movie had it.

[@systemresponse]

I like your new camera.

[@danielcastillo4537]

Spielberg shows us why he is still a great American. The cinematography is gorgeous. However I feel it lacks the urgency and passion of the original. For me this is in the miscasting of Maria and Tony as leads. I believe she was doing high school plays when she was cast and it shows. I feel like Spielberg was using this project the themes and all as a metaphor for what is happening in the world now. At times I was rolling my eyes so much of it seemed preachy. The film feels way too long even though it's the same length as the original. The emotional payoff in the final act didn't work for me. In addition I know people have talked about the use of Mario Bro. accents in "The House of Gucci." It seemed like the language coach from the Tony Montana School for Actors was hired for this gig! I thought the characters were supposed to be Puerto Ricans for crying out loud!

[@bobbyrobby3600]

New West Side Story: 1. Good idea to have Rita Marino inserted into the Steven Spielberg script of *West Side Story* 2. Best Actress role for Oscar nomination for Spielberg's version will be Maria (Rachel Zegler) and then Anita (Ariana DeBose) for supporting Oscar nomination. I think Rachel Zegler's acting for Maria, was better than Natalie Wood in the Robert Wise production. 3. Second choice for best supporting actress: Rita Marino. (yes again) 4. I did not like any of the character actors choice for either the Jets or Sharks in this Spielberg version. There was no a manly handsome guy in either gang. 5. I did not like the first act of the Spielberg version as much as the Robert Wise/Jerome Robbin's version, however the second act of Spielberg's version made up for the 1st act's shortcomings. Spielberg's first act of his movie was too dark. 6. My choice for which movie was better would be the flawless *1st* West Side Story. Robert Wise/Jerome Robbin's version was the better direction in the 1st Movie version of the play. However the second act of Spielberg's version made tears come from my eyes, but don't tell anybody as I don't want my manhood questioned. 7. In the first movie the Jet gang gave respect for the little girl playing on the ground and walked around her play area. In the Spielberg version the Jets ripped up the little girls artwork on the ground. I could not get behind the Jets after that. 8. The dance scenes in both versions were equally well done, however the Robert Wise/Jerome Robbin's version had all better camera composition on all frames. The colorful lighting on the Robert Wise/Jerome Robbin’s movie made a lot of scenes magical. 9. Spielberg claimed he did not want to copy the first, Robert Wise version, however he did in the opening. In the first, Wise version, we have an aerial shot flying over Manhattan, in Spielberg's version we have an aerial shot flying over the demolished section of the gang area with same Robert Wise sounding intro music. 10. Spielberg's version of West Side Story will be nominated for *Best Picture* Oscar this year. However, from the *WOKE* Hollywood, they might choose another low budget foreign movie with another language made movie like *Parasite* with no whites in it, that nobody saw, but won for diversity's sake. Parasite movie (looked like a college student made film) winning Best Picture over *1917* a real professional movie. And like Spielberg's movie, *Saving Private Ryan* that did not win Best Picture, which it should have, got beat by that that terrible love story *Shakespeare in Love* again, that nobody saw. 11. Why couldn't Spielberg worry about that most all the actors should be Puerto Rican have to be Puerto Rican? That could be looked as racist decision on WOKE Spielberg. High class acting is art, that a great actor could pull it off being a Puerto Rican even if he is not in real life a Puerto Rican. Yes, we hated all the 1940 movies where they always picked a white actor to play an Asian, that obviously did not look even near an Asian. The great Spielberg would deny another race to play any role unless they are the same race of the character portrayed? This is a slam in the face of all actors. Example, he could have used actors from any South American country or other country as long as they really looked and acted Puerto Rican. Come on man! Let all actors try out from any race as long as they really look and act the part. 13. What was that freak dark character tranny character that used to be a tom boy girl in the Robert Wise movie? We could see in the Robert Wise movie that this was a tom boy girl that we liked. However, in this movie, we don't know who this scary creature from hell was in Spielberg's version. Spielberg was again trying to be WOKE by picking a real tranny freak character from this year’s 2021 to make the LGBTQ people today happy. That demonic freak character was a bust. 14. There will be other Oscar nominations beside best picture for this one. 15. From Breitbart: Estimated production budget of West Side Story: 7 Biggest Woke Box Office Busts of 2021: ‘West Side Story,’ ‘Eternals,’ and More. $100 million - Worldwide gross so far: $36.6 million. Steven Spielberg went full woke by not including English subtitles in Spanish-language scene, saying he did not want to give “English the power over the Spanish.” Actress Rachel Zegler further alienated audiences by shaming Americans who don’t speak Spanish. The mainstream media pushed this one hard, but moviegoers everywhere refused to fall for it.“Everything woke turns to shit,” former President Donald Trump said this year. Nowhere is this more true than in Hollywood, where the public’s rejection of woke movies can be measured in the tens of millions of dollars that studios are losing at the box office. No matter how hard left-wing Hollywood pushes woke-ism - and their allies in the entertainment media insist we like it - the American public isn’t having it anymore, sending a clear and unambiguous message with their wallets. Will Hollywood learn its lesson? Of course not, but that’s their problem and it’s part of the fun. This year, woke Hollywood movies tanked left and right as audiences wary of paying for a social justice lecture decided to stay away.

[@kevinbailey8827]

I liked the idea of her being in the movie, but when I heard that a role was written for her, I worried that there was going to be a new storyline to take away from the classic story. It wouldn't have to take away. It could add, but it's very risky. When I saw the movie, all my fears were gone. Her "new" role is a replacement for a minor character. And her being there in that role definitely adds to the movie. They made a small change that has a huge emotional impact: They gave her a song. A big one. And that really worked for me.

[@siddharthm6410]

@BobbyRobby frankly, you sound deranged, mate

[@N_Loco_Parenthesis]

Riffs aren't usually complex, you know. ;)

[@Texastentialist-ls9kz]

Someone please buy her a chair.

[@dumbcat]

almost as good as Cats?

[@blackswan4486]

“Cats is the worst thing to happen to cats since dogs”- a critic somewhere.

[@chandumanoj2656]

Hey Maggie I would love to know your thoughts on Friends sitcom....

[@Jacob-hk6to]

Is that the spirit molecule on your book shelf?

[@44r0n-9]

Weirdly enough I thought Rita Moreno was the worst part of this new movie. Her acting was just extremely subpar (obviously huge respect for still doing this at her age) and it took me out of the movie in almost every scene she was in.

[@AdamFishkin]

The difference between us is cosmic. You point to the '61 version's opening number as the greatest opening of an American musical. For me, on the other hand, that opening is one of the key things that frustrates me about the film as a whole. You talk about the movements having "more clarity", but I never got that sense at all. Something was missing; something in its tone and its tempo didn't match the rest of the film. It wasn't until Tony and Maria meeting at the auditorium dance that I believed the musicians and choreographers were bringing their A-game. Which *doesn't mean* that they weren't. I think the issue was the set designs of Boris Leven. His attempt to integrate Manhattan location shooting with soundstage replicas of the same architecture? Leven's creative limitations are laid bare in the jarring shifts of choreography style that end uo happening between the two. Jerome Robbins was also a novice filmmaker; he was scheduled to shoot half the film (while Robert Wise helmed the other half) but he wasn't able to efficiently deal with locations as opposed to a stage. I get the sense that Wise *really tried* in post-production to make it look less clumsy, but when the man who edited "Citizen Kane" can't save face, it's a bit embarrassing. TO BE FAIR: it's a much, much, much better opening than the ensemble pantomime in the Samuel Goldwyn "Guys and Dolls", which Walter Mirisch (the producer that hired Robbins and Wise on UA's behalf) had unspoken intentions of outdoing. Both refrain from introducing the main characters off the bat. But while the "Guys and Dolls" number is bigger in scope, the "West Side Story" number can boast more nuanced worldbuilding on a script level. (Helped by slightly less mugging by the actors.) ..... I'm seeing the Spielberg version tonight. The bar is high for what I expect.

[@brandononbrand]

Lens Flare Story

[@badinfluence3814]

😂 The lens flare in Spielberg's films in recent years is ridiculous.

[@denniszenanywhere]

I was hoping that they would at least rewrite Tony's underwritten character because that's what turned me off and people I know in the original. But as you said, it's underwritten. Oh well, so be it.

[@eddieanderson9399]

The gee officer Krumpke skit was the weak point of the movie for me. It was cool it was in a police station but because it was... it wasn't as extravagant as the gym dancing or the America in the streets. All the songs and skits or whatever were done good to me though so just because it wasn't my favorite doesn't mean it was bad.

[@SnowyTaco]

Now that was a review!!!! Bravo

[@Potomacstud]

good remake but i have problem understanding Puerto Rican WITHOUT substitles ..probably need to take note Mr Spielberg

[@Tolstoy111]

Did you have a problem with the unsubtitled German in Schindler’s List?

[@robertgoyette5863]

by the way the new camera looks incredible

[@hanng1242]

2:05 Would you have had no reservations if it were directed by Franco Zeffirelli?

[@eddieanderson9399]

Cool is my least favorite scene in the older version. You and I have different likes in this classic movie and remake. I agree that Cool in the new one wasn't the best and it should of came after the tragedy. They should of put the I Feel Pretty in that place of the movie then make a better version of Cool instead of the one they gave us after the tragedy.

[@agochoa]

“Theeeeerrrs a place….for usss….”