I’m somewhat biased against this new version of West Side Story because I love the first one so much.  I think the music score and songs for West Side Story are the greatest, bar none, of any musical I have ever heard, and that the original 1961 film is brilliantly staged, choreographed and lensed.  I love it more than any other musical even though its two leads are miscast and that its ethnic choices (in front of and behind the camera) are outdated.  It is amazing to me that the new version, helmed by my favorite director, has the same minor flaw in its casting of an uncharismatic Tony, and yet the music is still wonderful and the story still powerful, and this time it is told more convincingly.

Steven Spielberg’s film pits street gangs the (white) Jets against the (Puerto Rican) Sharks in 1950s New York City.  Trouble develops when white Tony (Ansel Elgort) falls for Puerto Rican Maria (Rachel Zegler), and both ethnicities take offense.  A rumble is planned and not even Tony’s boss Valentina (Rita Moreno) can prevent it.  People are killed and then revenge and betrayal leads to more tragedy.  Blame Shakespeare; the story is based on Romeo and Juliet.

This is a more realistic version of the story than the 1961 film, and more attuned to the 1957 play than that film, yet it is still highly stylized in the manner of more traditional musicals.  The choreography is reminiscent of Jerome Robbins’ kinetic dancing, but more subdued and thus less effective.  A couple of the songs have switched order from the film, back to the order of the play, and I did not care for this decision.  One song, “Cool,” has a whole new context, which makes a lot of sense.  More credence is given to the adults in this version, about which I am ambivalent.  I’m still debating whether or not the musical score is satisfying or not.  Leonard Bernstein’s wonderful music arrives quietly for most every song, which kind of bothers me; in the original film it was dramatic and powerful.  Yet Stephen Sondheim’s sensational lyrics (the Broadway version) are sung very well by everyone, and the new version of “America” is even better than the original film’s sensational sequence.

So where does this one fall a bit short of brilliance?  Ansel Engort is a bland Tony, and it is ludicrous to think that he could beat up Bernardo (David Alvarez) at the rumble.  Changing the place where “I Feel Pretty” is performed undermines the violence that precedes it and trivializes that particular song. A couple of the songs are underperformed, primarily “Something’s Coming.”  The story may be timeless but it cannot escape the pitfall of being a dated period piece.  And, for me, happy memories of the first film were constantly present, leading to often unfavorable comparison in my mind’s eye.

However, this version of West Side Story is generally positive.  Kudos to really strong performances, dramatic and vocal, by David Alvarez (Bernardo), Rachel Zegler (Maria), Mike Faist (Riff), Ariana De Bose (Anita), Iris Menas (Anybodys), Josh Andrés Rivera (Chino) and Rita Moreno (Valentina).  Ansel Elgort sings his part very well.  The dancing is well staged, even if too many closeups are employed, and occasionally the film takes flight and makes one forget about past versions.  It’s just a shame that such an effect fails to happen from the very beginning.  But I think anyone seeing this story for the first time will be impressed.  It’s good, but not great.  ☆ ☆ ☆.  31 December 2021.