Before its holiday 2021 release, many critics and observers were apprehensive aboutSteven Spielberg’sWest Side Story, questioning if it was a necessary update. Perhaps audiences should have expected nothing less from Spielberg: hisWest Side Storyis an improvement uponRobert Wise’s Academy Award-winning 1961 masterpiece, long considered one of the finest musical films of all time. This is likely to be one of the most Oscar-nominated films of the year.
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A faithful adaptation of a storied musical theater touchstone with judicious liberties and departures, the critically adored romantic drama, based on the play about budding love amidst warring Manhattan gangs, has no less than several of the most exhilarating musical set pieces ever on film. All the more remarkable when taking into account this is Spielberg’s first musical feature. Hopefully it won’t be his last.
10. “Somewhere”
Iconic ballad “Somewhere” historically is a song shared by Tony and Maria following the Earth-shattering events of the rumble. Though one could argue some power is lost in taking this song from the lovers at the center of the plot, it’s certainly great to see (and hear)Rita Morenothroughout the film.
The EGOT-winning legend returns in a role created by screenwriterTony Kushner. Moreno shines as shopkeeper Valentina, who’s seen generations torn about by prejudice and violence. It’s a role that could likely garner the original Anita a Best Supporting Actress Oscar nod.
9. “Prologue,” “The Jet Song”
Spielberg’s picture opens so spectacularly the audience is securely in the palm of his hand for the following two-and-a-half-hour runtime. Keenly weaving the history of Lincoln Center into the story from a towering crane shot in the film’s opening moments, the first look at New York’s Jets and Puerto Rican sharks incorporates classicJerome Robbinschoreography withdazzlingJanusz Kamińskicamera workthat is on the razor’s edge.
Boundless props toDear Evan Hansen(on Broadway, not the unfortunate film) alumMike Faist. His Riff is the standout performance in a film of uniform excellence. In the opening numbers,we see a villain with more depththan in any previous adaptation.
8. “Gee, Officer Krupke”
Spielberg and a resplendent cast of young actors blend humor, athleticism and pathos perfectly here. “Gee, Officer Krupke” is an ingenious number set in a police station, with physical comedy that evokesDonald O’ConnorinSingin' in the Rain’s “Make ‘Em Laugh.”
One of the most impressive feats ofWest Side Story2021 is the way it feels of its setting (the 1950s) though the filmmaking is unmistakably modern. “Gee, Officer Krupke” is an effective, toe-tapping evocation of classic musical comedies.
7. “Mambo”
The dance at gym is enough to melt the average audience member, filmmaking so crisp and kinetic you never want it to stop. A catchy call-and-answer chorus intertwines with virtuoso camerawork seamlessly gliding through world-class dancers firing on all cylinders.
“Mambo” is a delicious dance battle following a short-lived, naive attempt at a peacemaking social experiment. It’s fierce and thrilling.
6. “Maria”
Tony is traditionally a role overshadowed by the meatier supporting characters, butAnsel Elgortis thoroughly memorable as the lovestruck lead, and his pipes are outstanding, hitting all the high notes inLeonard Bernstein’s iconic aria.
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Visually, “Maria” is a simple but fetching sequence, a night shoot Kamiński splashes with dazzling light.
5. “Balcony Scene (Tonight)”
ArguablyWest Side Story’s most iconic image echoes the play’s source material:Romeo & Juliet. Here, it’s certainly important to note that both romantic leads (Elgort, andRachel Zegler, in a star-making performance) do their own singing, in contrast to the original picture.
“Tonight” is of course one of the show’s signature tunes, and the young leads nail it. Visually, Spielberg homages the original film, once again aided by Kamiński’s glittering light play.
4. “A Boy Like That/ I Have a Love”
An emotional ripper with towering harmonies. In the wake of the rumble’s violence, Maria and Anita (Ariana DeBose) square off and face their grim new reality, Maria’s star-crossed romance their last glimmer of hope.
This could be the scene that wins DeBose an Academy Award. Both actresses won damn well deserved Golden Globes. Few songs exemplify music’s ability to reach us on a higher emotional level than mere words quite like this.
3. “America”
The centerpiece of perhaps the greatest musical score ever is brought to thunderous life in a new arrangement orchestrated byGustavo Dudamel. Spielberg’s direction is as confident as ever in a sweltering summer number that’s sexy, hilarious and muscular. The final crane shot will raise your pulse.
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Slinking throughWest Side Story’s brightest showstopper is a sultry, bantering game of cat-and-mouse between Bernardo (David Alvarez) and DeBose’s Anita. Their chemistry is off the charts, fully worthy successors to the iconic Moreno andGeorge Chakiris.
2. “Tonight (Quintet)”
Welcome to act three. The chess pieces are set in a contender for most electrifying number in musical theater history. “Quintet” is always a standout, and in Spielberg’s vision it roars as loud as ever.
The gangs are out for blood, Anita is comically in heat, and the lovers are optimistic, naive. The melodies and harmonies are as exquisite as can be.
Here is one of the biggest departures from the original musical, and the most dramatically rewarding. Kushner’s script essentially flips “Cool,” with Tony singing a word of warning to his hot-headed best mate. Feelings between men are infamously tough for screenwriters to pen; so how radical is it to turn “Cool” into a death-defying, high-altitude ballet between best friends, movement and music capturing two people who are falling apart? Elgort’s impressively rich vocals and Faist’s astounding physicality express more than words could.
LikeRomeo & Juliet, Spielberg’s new film is a tragedy in the most classical sense. The reimagined, gracefully combative “Cool” is the moment tragic fates are sealed. From here, there’s no turning back.
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