West Side Story (2020)

[luvthepros]

On 12/30/2021 at 8:22 PM, Spartan Girl said:

Finally saw it tonight, and I’ll just say it: it was better than the original. Spielberg knew what he was doing. If it hadn’t been for Elgort, it would have been perfection—not just saying that because of the allegations, his singing was mediocre at best and he just had the same smirky expression for 80 percent of the movie. He didn’t even really act until the last 10 minutes.

But Rachel and Ariana were fantastic. Hope this is their breakthrough film because I want to see more of them.

Love Rita Moreno, and I knew exactly how the gang rape scene affected her. I loved that Valentina, unlike Doc in the original, ripped the Jets a new one by calling them out as rapists. And while it was good that the Jets girls tried to stop them, part of me just thought, “Oh you can excuse racism, but you draw the line at sexual assault?”🙄

On that note, I get why Anita did what she did. Doesn’t make it right, and she was way out of line calling Valentina a traitor, but I get it.

And we can give Maria crap for forgiving Tony too easily, but what happens to her at the end was punishment enough. She had nothing left: Bernardo and Tony dead, no other family, Anita had screwed her over and was going back to Puerto Rico, and she was probably going to wind up shunned by most of the community when word got out about her and Tony. And to top it all of, the novelization of the original film implied she might be pregnant. Maybe Valentina or one of her coworkers could take her in, but it still sucks.

Giving Anybodys and Chino depth was something I didn’t know I needed. It really drove the point home that toxic masculinity isn’t limited to white cisgender men. But my sympathy for Chino was limited: he told the Sharks that Bernardo’s gang mentality was stupid and pointless and got him killed, but that didn’t stop him from killing Tony. And for what? To avenge Bernardo—who didn’t even want him getting involved for his own good? Spite because Maria picked Tony over him? Congratulations, dipshit, you threw away your own life for nothing.

My one nitpick in the whole movie is they should have kept the “Somewhere” reprise at the end. That’s the defining moment of the whole show, the one that packs the big punch. It didn’t feel the same without it.

Other than that, I loved it. 

I agree with everything you said with one exception.........I absolutely was mesmerized by Elgort's voice. Anytime he opened his mouth to sing, the tears streamed down my face. I saw the movie two days in a row and he had the same effect on me both times. His voice is like velvet.

[luvthepros]

On 12/9/2021 at 4:09 PM, AngieBee1 said:

I have never been a big Spielberg fan and feel that he has coasted due to his early works but his adaptation of WSS is fantastic. The casting, the production and costume design and cinematography were excellent. And that score!!! There are people who love the original film so much that they refuse to see this one but it takes nothing from WSS's history. It just adds to the greatness of what Sondheim, Bernstein, Laurents and Robbins did.

Anyone who refuses to see Spielberg's adaptation of WWS because they have the original 1961 film to memorialize is cutting off their nose to spite their face. Sad really. Spielberg's film is a work of art and everyone in it is superb.

One thing I did not like......at all, is taking "Somewhere" from Tony and Maria and giving it to Rita Moreno. It was very creative to make it work this way but that song and emotion belongs to Tony and Maria. That was the only misfire in the entire film for me.

 

[Lady Whistleup]

22 minutes ago, luvthepros said:

Anyone who refuses to see Spielberg's adaptation of WWS because they have the original 1961 film to memorialize is cutting off their nose to spite their face. Sad really. Spielberg's film is a work of art and everyone in it is superb.

One thing I did not like......at all, is taking "Somewhere" from Tony and Maria and giving it to Rita Moreno. It was very creative to make it work this way but that song and emotion belongs to Tony and Maria. That was the only misfire in the entire film for me.

 

The thing is Tony's first number  is "Something's Coming." I always thought that giving Tony and Maria "Somewhere" was bitter sweet -- a bit of parallelism. He got the something, but he needs to go somewhere. 

[luvthepros]

11 hours ago, Lady Whistleup said:

The thing is Tony's first number  is "Something's Coming." I always thought that giving Tony and Maria "Somewhere" was bitter sweet -- a bit of parallelism. He got the something, but he needs to go somewhere. 

I don't see the meaning of those two songs as "parallelism".

"Something's Coming" is a premonition that his life is about to change for the better.

"Somewhere" reflects Tony's optimism of of having found his true love but he knows they need to go to a place where they will both be accepted for who they are as a couple.

 

[Spartan Girl]

Something else that’s just occurred to me: maybe Maria found it easier to forgive Tony because she felt like she had a hand in causing the tragedy because she told him to stop the rumble? Granted, she backtracked on that promise after he told her about his past and how he nearly beat a kid to death, saying that she that she didn’t want him to get sucked into the rumble and back to that life. But he still felt obligated to keep that promise for her sake. So maybe as angry as she was about Bernardo, she felt like it wouldn’t have happened if she hadn’t initially convinced him to intervene. And that’s why she couldn’t bring herself to let Tony turn himself in for it.

[NotMySekrit2Tell]

On 1/2/2022 at 8:22 PM, luvthepros said:

I agree with everything you said with one exception.........I absolutely was mesmerized by Elgort's voice. Anytime he opened his mouth to sing, the tears streamed down my face. I saw the movie two days in a row and he had the same effect on me both times. His voice is like velvet.

I loved his Tony, personally. I've seen a lot of Tonys, but to me, the combination of his performance and the deepening of the new screenplay made this one something new and special. I completely adored the movie and I can't stop listening to the soundtrack. Including the songs with AE singing. 

[tv echo]

FYI: DisneyMusicVEVO (Walt Disney Records) and WestSideStory have both posted audio recordings of more than 20 songs from this movie on YouTube....

DisneyMusicVEVO's West Side Story Official Playlist
https://www.youtube.com/watch?v=Ci4KvD-LW70&list=PLXaH20eIS38Zz_hkQa8hsvHBWQ6qYFa0p

WestSideStory - 2021 Cast Soundtrack
https://www.youtube.com/channel/UCokTfVQw9wiOeP63shfOe_Q/videos

Edited January 6, 2022 by tv echo

[Spartan Girl]

So I rewatched the original just to see with fresh eyes how it holds up against this movie. I can’t lie, I still like Natalie Wood’s Maria, even though it’s really hard to ignore how the filmmakers browned up all the Puerto Rican chapters—even the ones that were actually Hispanic.

Also, I feel like the original kind of glosses over the Jets racism somewhat, whereas the remake forces you to see it. Really forces you to see. Compare the openings:

Original: A look at this lovable gang of white boys dancing around and getting into a fight with another gang!

Remake: Oh look at this lovable gang of dancing white boys…wait, are they vandalizing a Puerto Rican neighborhood? And the Sharks come out to stop them and it escalates into an actual fist fight, not a ballet.

Remake Riff’s racism was on full display in his speech to Tony about how the neighborhood was being taken over by people he “didn't like.”

Also, I have to say it: I like Valentina way more than Doc. Doc was fucking useless as a character—yes, I KNOW it’s intentional than the adult authority figures are useless and/or racist, but still. Even when Doc stops the Jets from gang-raping Anita, all he can do is whine at them for “making the world lousy.” Valentina, on the other hand, called them out on what they did, spelling it out so forcefully that you can tell the Jets were finally starting to see what they had become.

Also, points to Valentina for having the sense not to lash out at Tony right before breaking the news that Maria was “dead.”

Edited January 6, 2022 by Spartan Girl

[pancake bacon]

I'll say it too: I adored the 2021 version more than the 1961 version, which I felt was so stage-y and theatrical.

Tony Kushner's re-positioning of the characters and overall motivations of the story was the real MVP: it felt grounded even as they shifted to singing musical numbers.

As everyone has rightly observed, the cast is fantastic. Yes, even Ansel Elgort and his stunning vibrato. His final utterance of "Maria…" was just perfectly delivered. 

Potential hot take: while "Officer Krupke" has great melodic texture and an entertaining song, but if we removed that number, the movie would lose nothing. There's adequate stage setting for where the Jets were coming from, earlier in the story. I recommend it as a bathroom break. 

Giving "Somewhere" to Valentina felt like a directorial move: an approach to "montage" the sequences of the aftermath of Bernardo's death, and Tony & Maria spending the night together – let the emotions carry the moment, and not exposition. 

[tv echo]

West Side Story won 3 Golden Globes...

79th Golden Globes - Winners & Nominees 2022
January 9, 2022
https://www.goldenglobes.com/winners-nominees 

Edited January 10, 2022 by tv echo

[tv echo]

Edited January 10, 2022 by tv echo

[Simon Boccanegra]

Agreeing with @Spartan Girl, Valentina > Doc. I found him stagy and didactic in the '61 film.

There was, to me, something not only very touching but inspired in that recontextualization of "Somewhere." This iconic song delivered (delicately but effectively) by the oldest voice, the oldest character, the one who's seen the most, probably seen all the worst. That she still holds out hope for a better tomorrow makes it mean more, and the lyrics have never sounded more like a prayer. (And yeah, I've heard Aretha's version.)

Ms. Moreno, of course, brings her own associations to it. No doubt she spent a lot of years choosing the least bad among roles it was hard to get excited about, blazing a trail for the younger performers around her in this cast. 

"Touching" and "inspired" sum up a lot of Kushner and Spielberg's work here. I keep thinking back on the handling of the balcony scene, with that locked fire-escape grate, When Tony's gone as far as he can go, he and Maria are still on different levels and speaking through bars, their faces only inches apart but still separated. He has to hoist himself up and over from the outside, risking a fall for something that is worth it. It's lovely symbolism for the world being in their way.

[caracas1914]

It's well known that Steven Sondheim wasn't exactly thrilled looking back at his lyrics for WSS, but I actually thought the creative ways Spielberg set up the musical numbers enhanced the music and words.  Less "traditional" (ie n just letting the characters statically belt out a song ), Spielberg brought out a nice visual style to complement the music, which is so familiar to people to almost make it inert otherwise.  

To me, the most appealing and complex character has always been Anita, , and one interesting touch was the implied skin color bias even among the Puerto Ricans in the film , Anita obviously being also of African American descent.

One thing that both films sort of skip over was  how Anita would have the largesse to help out the killer of her lover Bernardo.    Anita knew Bernardo was an impulsive hothead, but just something that let us know Anita acknowledged  it was an unfortunate series of events beyond any one character's control one make her 180  turn just a wee bit less incredulous.

I mean, this is the same Anita who minutes earlier had angrily spit out: " A boy like that, would kill you brother."  Somehow Anita ceding to Maria's "pure love" platitudes is still hard for me to swallow 

 

Edited January 13, 2022 by caracas1914

[Simon Boccanegra]

6 hours ago, caracas1914 said:

One thing that both films sort of skip over was  how Anita would have the largesse to help out the killer of her lover Bernardo.    Anita knew Bernardo was an impulsive hothead, but just something that let us know Anita acknowledged  it was an unfortunate series of events beyond any one character's control one make her 180  turn just a wee bit less incredulous.

I mean, this is the same Anita who minutes earlier had angrily spit out: " A boy like that, would kill you brother."  Somehow Anita ceding to Maria's "pure love" platitudes is still hard for me to swallow

This is just something the actors have to make work in "A Boy Like That/I Have A Love." I thought Ariana DeBose and Rachel Zegler did sell it in the new film (with a little help from Tony Kushner). The soundtrack album, which includes the spoken dialogue at the end, reinforces that impression.

Anita loved Bernardo, but she understood not only him but the world in which he and Tony existed, and so she knows it easily could have happened the other way around. Once she has softened (the duet with Maria shifting from confrontation to close harmony), she says Tony will never be safe there; "they'll" never forgive him. Maria asks if Anita herself will; Anita replies, "You can't ever ask me that." Then Maria asks if Anita will forgive her (for playing a role in these events and for still loving Bernardo's killer), and Anita's response in Spanish is more than forgiveness, it's love ("Te quiero mi niña"). She says Tony and Maria will have to go away together.

I buy it because of the sisterly relationship between these two, their shared experience of loving leaders of violent gangs, and DeBose's magnificent acting.

Edited January 14, 2022 by Simon Boccanegra

[Spartan Girl]

8 hours ago, Simon Boccanegra said:

Anita loved Bernardo, but she understood not only him but the world in which he and Tony existed, and so she knows it easily could have happened the other way around. Once she has softened (the duet with Maria shifting from confrontation to close harmony), she says Tony will never be safe there; "they'll" never forgive him. Maria asks if Anita herself will; Anita replies, "You can't ever ask me that." Then Maria asks if Anita will forgive her (for playing a role in these events and for still loving Bernardo's killer), and Anita's response in Spanish is more than forgiveness, it's love ("Te quiero mi niña"). She says Tony and Maria will have to go away together.

Which makes Anita’s final impulsive betrayal more devastating.

[tv echo]

West Side Story got a WGA Awards nomination for Best Adapted Screenplay...

WGA Awards: ‘King Richard,’ ‘CODA,’ ‘Dune’ Among Nominees in the Screenplay Categories
'BY TYLER COATES, KIMBERLY NORDYKE     JANUARY 27, 2022 
https://www.hollywoodreporter.com/movies/movie-news/wga-awards-film-nominees-screenplay-original-adapted-documentary-1235082429/ 

Quote

The Writers Guild of America on Thursday announced the nominees in its film categories, including best original, adapted and documentary screenplays.
*  *  *
The winners will be revealed Sunday, March 20, at the 74th annual Writers Guild Awards.
*  *  *
ADAPTED SCREENPLAY

CODA
Screenplay by Siân Heder, Based on the Original Motion Picture La Famille Belier Directed by Eric Lartigau, Written by Victoria Bedos, Stanislas Carree de Malberg, Eric Lartigau and Thomas Bidegain; Apple

Dune
Screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth, Based on the novel Dune Written by Frank Herbert; Warner Bros. Pictures

Nightmare Alley
Screenplay by Guillermo del Toro & Kim Morgan, Based on the Novel by William Lindsay Gresham; Searchlight Pictures

Tick, Tick … Boom!
Screenplay by Steven Levenson, Based on the play by Jonathan Larson; Netflix

West Side Story
Screenplay by Tony Kushner, Based on the Stage Play, Book by Arthur Laurents, Music by Leonard Bernstein, Lyrics by Stephen Sondheim, Play Conceived, Directed and Choreographed by Jerome Robbins; 20th Century Studios

 

Edited January 28, 2022 by tv echo

[tv echo]

West Side Story also got a DGA Awards nomination for Outstanding Directorial Achievement in Theatrical Feature Film...

DGA Awards Movie Nominations: Spielberg, Campion, Villeneuve, Branagh, Anderson Vie For Top Director Prize
By Patrick Hipes   January 27, 2022
https://deadline.com/2022/01/directors-guild-awards-movie-nominees-2022-list-dga-nominations-1234921295/ 

Quote

Winners will be announced March 12 during a planned in-person ceremony at the Beverly Hilton.
*  *  *
OUTSTANDING DIRECTORIAL ACHIEVEMENT IN THEATRICAL FEATURE FILM

Paul Thomas Anderson
Licorice Pizza
(Metro Goldwyn Mayer Pictures/United Artists Releasing)
...
Kenneth Branagh
Belfast
(Focus Features)

Jane Campion
The Power of the Dog
(Netflix)

Steven Spielberg
West Side Story
(20th Century Studios)
...
Denis Villeneuve
Dune
(Warner Bros. Pictures)

 

Edited January 28, 2022 by tv echo

[luvthepros]

On 1/10/2022 at 11:23 AM, Simon Boccanegra said:

Agreeing with @Spartan Girl, Valentina > Doc. I found him stagy and didactic in the '61 film.

There was, to me, something not only very touching but inspired in that recontextualization of "Somewhere." This iconic song delivered (delicately but effectively) by the oldest voice, the oldest character, the one who's seen the most, probably seen all the worst. That she still holds out hope for a better tomorrow makes it mean more, and the lyrics have never sounded more like a prayer. (And yeah, I've heard Aretha's version.)

Ms. Moreno, of course, brings her own associations to it. No doubt she spent a lot of years choosing the least bad among roles it was hard to get excited about, blazing a trail for the younger performers around her in this cast. 

"Touching" and "inspired" sum up a lot of Kushner and Spielberg's work here. I keep thinking back on the handling of the balcony scene, with that locked fire-escape grate, When Tony's gone as far as he can go, he and Maria are still on different levels and speaking through bars, their faces only inches apart but still separated. He has to hoist himself up and over from the outside, risking a fall for something that is worth it. It's lovely symbolism for the world being in their way.

Ansel did all that climbing himself too. He stated that in an interview.

[methodwriter85]

I really enjoyed this. I really liked that they set the context so well- you really see how an entire neighborhood is being demolished and how pointless this turf war is. I loved the visual of them snatching off the sign of a Puerto Rican business to show that it had once been owned by Irish immigrants. I also liked that they went with the cool earth tones- instead of a hot, sweltering summer, we're likely in either early fall or the spring. Instead of a nameless bridal shop, Maria and her friends are the cleaning crew at Gimbles.

I also liked the re-intrepretation of Riff- instead of a funny, cocky jokester, he's instead a total loose cannon, who's going nowhere and really knows it. The hungry, gaunt look, the haunted eyes- I can see Michael Faist becoming one hell of a character type actor when he's in his 40's.

I also thought Ansel Elgort and Rachel Zegler had really good chemistry. I also liked the nuance that Tony is really all in with Maria because it's clear that he's desperate for a home/something good (i.e. salvation) and he thinks that's with Maria. That's why he crumples at the end. I did agree with the upthread comment that this Maria feels feistier and think at some point she wouldn't have been happy with a life on the run. However I really think that showed the naivete- I think Tony thought he could go to Nebraska or something and live a peaceful farm life with Maria with about 2k in our money, 200 in in their money.

My one nag is that I didn't really feel the heat between Bernardo and Anita that IMO just needs to be there for West Side Story. I feel like Ariana deBose tried but I wasn't feeling it from David Alverez. 

All in all, I thought it was good.

Edited February 2, 2022 by methodwriter85

[tv echo]

BAFTA nominations were announced this morning - West Side Story got 5 nominations, plus Ariana DeBose was nominated for the EE Rising Star Award...

2022 EE British Academy Film Awards: Nominations
February 3, 2022
https://www.bafta.org/film/awards/2022-nominations-winners 

Quote

SUPPORTING ACTRESS

CAITRÍONA BALFE Belfast

JESSIE BUCKLEY The Lost Daughter

ARIANA DEBOSE West Side Story

ANN DOWD Mass

AUNJANUE ELLIS King Richard

RUTH NEGGA Passing

SUPPORTING ACTOR

MIKE FAIST West Side Story

CIARÁN HINDS Belfast

TROY KOTSUR CODA

WOODY NORMAN C’mon C’mon

JESSE PLEMONS The Power of the Dog

KODI SMIT-MCPHEE The Power of the Dog
*  *  *
CASTING

BOILING POINT Carolyn McLeod

DUNE Francine Maisler

THE HAND OF GOD Massimo Appolloni, Annamaria Sambucco

KING RICHARD Rich Delia, Avy Kaufman

WEST SIDE STORY Cindy Tolan
*  *  *
PRODUCTION DESIGN

CYRANO Sarah Greenwood, Katie Spencer

DUNE Patrice Vermette, Zsuzsanna Sipos

THE FRENCH DISPATCH Adam Stockhausen, Rena DeAngelo

NIGHTMARE ALLEY Tamara Deverell, Shane Vieau

WEST SIDE STORY Adam Stockhausen, Rena DeAngelo
*  *  *
SOUND

DUNE Mac Ruth, Mark Mangini, Doug Hemphill, Theo Green, Ron Bartlett

LAST NIGHT IN SOHO Colin Nicolson, Julian Slater, Tim Cavagin, Dan Morgan

NO TIME TO DIE James Harrison, Simon Hayes, Paul Massey, Oliver Tarney, Mark Taylor

A QUIET PLACE PART II Erik Aadahl, Michael Barosky, Brandon Proctor, Ethan Van Der Ryn

WEST SIDE STORY Brian Chumney, Tod Maitland, Andy Nelson, Gary Rydstrom
*  *  *
EE RISING STAR AWARD

ARIANA DEBOSE

HARRIS DICKINSON

LASHANA LYNCH

MILLICENT SIMMONDS

KODI SMIT-MCPHEE

 

Edited February 3, 2022 by tv echo

[tv echo]

Ariana DeBose & Simu Liu | Actors on Actors - Full Conversation
Variety    Feb 4, 2022

Transcript of the above video:
From ‘Shang-Chi’ to ‘West Side Story’: Simu Liu and Ariana DeBose on ‘Cultural Authenticity’ in Their Breakout Films
By Adam B. Vary    Feb 4, 2022
https://variety.com/2022/film/news/ariana-debose-west-side-story-simu-liu-shang-chi-1235170824/ 

Quote

SIMU LIU: We’ll get to the amazingness that is “West Side Story” and how incredible you are in it. Before we do, I had a different question that maybe goes back a little bit further. You achieved a life dream of mine quite a few years ago. You were on a little show called “So You Think You Can Dance.”
*  *  *
DEBOSE: Oh, my gosh. That show was the craziest whirlwind for an 18-year-old. I had known quite a few people that had done it. I grew up dancing with Travis Wall and Martha Nichols. And so, it felt very tangible to me. That is a crazy thing that I just said, but it felt really tangible. And so going into it, it’s what everybody thinks it’s going to be. It’s a little dog-eat-dog. Dancers, we love each other, but we want our spot, you know?

I think the greatest thing I learned is that it is a television show. You think it’s just about dance, right? No, it’s still TV programming. So it is casting and creating storylines and relationships and all this stuff. You definitely don’t know that at such a young age, or at least I didn’t.
*  *  *
DEBOSE: I remember seeing the press release for it: Steven Spielberg and Tony Kushner will collaborate on “West Side Story,” their reimagination. I was like, that is awesome! I am not getting that job! I was on Broadway at the time, playing Donna Summer. I just didn’t see that Anita or any character in “West Side Story” really being for me. Most Anitas don’t look like me. Rita Moreno, at least, certainly doesn’t look like me. But I think Steven did himself an incredible service by going out and searching not only for talent authentic to their culture but also triple threats. And that means looking for unknowns. I don’t know that folks in the industry are accustomed to making stars anymore.
*  *  *
LIU: So how does a director like Steven Spielberg like to work?

DEBOSE: He’s really collaborative, which I was shocked by a little bit because I got the sense that he had his film in his head and he knew what he wanted out of every moment. I went in prepared to say, “What do you need, and I will deliver.” And I actually walked into a partnership. He wanted our input. He wanted to know if what he initially blocked felt authentic. If it didn’t, he changed it. He wanted us to follow our instincts. He gave us autonomy over our jobs, our characters, our experience. And I think our film is all the better for it. Did you feel that kind of support on your set?
*  *  *
DEBOSE: I loved the quick changes, because I felt like I was on Broadway again. This show does such a good job of making sure that no matter who their host is, or what their background is, that they feel comfortable.
*  *  *
DEBOSE: I think that’s the misconception of potentially what my career has been. Don’t get me wrong, I’ve had incredible opportunities. But I don’t have a college degree. So I felt like I had a lot up against me. And to be honest, “So You Think You Can Dance” was not helpful in getting me into the room. So I felt like I’ve constantly had to reinvent myself. I realized very quickly I couldn’t just rely on my dance abilities and I had to learn how to sing. There are these moments where you’re just constantly sweating because you’re like, “Just how do I get a job? How do I get a job?”

 

Edited February 7, 2022 by tv echo

[tv echo]

Also...

Andrew Garfield & Rachel Zegler | Actors on Actors - Full Conversation
Variety   Jan 31, 2022

Transcript of above video:
Andrew Garfield and Rachel Zegler - Actors on Actors (Full Conversation)
By Ramin Setoodeh    Jan 31, 2022
https://variety.com/video/andrew-garfield-rachel-zegler-actors-on-actors/ 

Quote

ZEGLER: I was 12 or 13 the first time I ever performed onstage with a cast of people. It was “Fiddler on the Roof.” I think I said three words the whole show. I was so in love with getting onstage and people reacting in real time. There’s an instant gratification to performance art. The vocation, film-wise, came from watching Steven Spielberg work. I realized how important it was to so many people. Now I want to do film more than anything. Do you feel particularly called toward one or the other?
*  *  *
ZEGLER: It’s this mirror of the evolution that we’re all going through. The evolution of “West Side Story” has been a long one. In 1957, it was onstage for the first time with an incredible creative team, and yet it missed that cultural mark. And then the Bob Wise film in 1961 — it missed that cultural mark, besides Chita Rivera [the play] and Rita Moreno [the movie]. This time around, we evolved to a place where we’re properly representing the people that the story is about. I think of the Globes. This is a step to get to a place where we’re representing our audiences and representing the people who are behind the camera and in front.
*  *  *
ZEGLER: I credit a lot of that conversation to Tony Kushner. He was able to make such a wonderful Latin character that I got to bring to life, but also talk about her in this very real, sculpting way. To showcase a three-dimensional woman, a Renaissance woman. I’m the first Latina to play her on screen, and that was not lost on me while I was working on it.

Jessica Chastain & Rita Moreno | Actors on Actors - Full Conversation
Variety     Feb 1, 2022

Transcript of above video:
Rita Moreno and Jessica Chastain - Actors on Actors (Full Conversation)
By Kate Aurthur    Feb 1, 2022
https://variety.com/video/rita-moreno-jessica-chastain-actors-on-actors/ 

Quote

MORENO: It was absolutely thrilling to go back — otherwise I would not have done the film. I knew in advance that Tony Kushner had it nailed. He fleshed out characters, and he invented a new one, which is Valentina. There’s a reason why it was an iconic film and still is — there’s a reason, and without it, we would not have been able to make “West Side Story” with Tony Kushner and Steven Spielberg.

They went to so much trouble to get this right, so that now and then when I hear a criticism, I’m filled with anger and I want to say stupid things: “You don’t get it. You don’t understand, because they killed themselves.” These are people who really, really, really worked so hard to get that aspect of the film or the story right, because I think it was ignored. I know it was ignored. We all know it was ignored.

I can’t help but spend some time just talking about how hard they worked to get this right. In fact, one of the first things that they asked me to do when I was just doing a wardrobe fitting is, “Rita,” Tony said, “would you talk to the kids about your life?” He said, “I think the kids should know because this is like homework for them. Tell them about the travails. Tell them about the good times, of which there were not many. But tell them about how difficult it was for you then.” That probably was the most heartbreaking aspect of my travails with show business and being in films, that I couldn’t get my agent to talk people into saying, “Please see her.” They wouldn’t.

 

Edited February 7, 2022 by tv echo

[luvthepros]

On 12/12/2021 at 12:44 AM, Raja said:

I would think that the last minute stories that maybe a third of the dialogue was in Spanish without subtitles did more than the gossip columns to cause a last minute change of minds

There was no where near a third of dialogue in Spanish. Most of the Spanish spoken had English replies so it was super easy to figure out the Spanish dialogue. My best guess is there were a total of 20 lines in the entire movie spoken in Spanish and most of those lines were either translated into English or replied to in English.

I do not speak Spanish and IMHO, this film did not need English subtitles. Anyone who complains about wanting English subtitles, is just plain lazy or not very receptive to the very expressive acting and body language cues.

[luvthepros]

On 1/6/2022 at 12:38 AM, NotMySekrit2Tell said:

I loved his Tony, personally. I've seen a lot of Tonys, but to me, the combination of his performance and the deepening of the new screenplay made this one something new and special. I completely adored the movie and I can't stop listening to the soundtrack. Including the songs with AE singing. 

I never knew who Ansel Elgort was before seeing the promos for this movie. I never heard of "Baby Driver" but I will be watching it soon. I do remember seeing the trailer for "A Fault in Our Stars" but never connected that that was Elgort in that film.

I've gone down the YouTube rabbit hole and watching everything Ansel Elgort. I would like to preface what I'm going to say about him with this: I am old enough to be Ansel Elgort's grandmother!!!

I am mesmerized by this man's voice. His quality and tone fit this Tony so well.....not a strong tenor or baritone but a velvet type tenor whos voice soars when called for. His Tony is thrilling when he sings. He sings with such feeling which was perfect for his role of Tony. Elgort made me cry every single time he sang in this movie.

BTW, I am aware of the SA allegations against Elgort made by this woman "Gabby" on Twitter. That is another discussion all together.

 

[luvthepros]

On 12/12/2021 at 3:22 PM, Lady Whistleup said:

Ansel Elgort and Rachel Zegler have way more chemistry than Natalie Wood and Richard Beymer.

I love the 1961 film but always thought Beymer was a "dorky" Tony. I also realize after watching Zegler's Maria, that Natalie Wood was more of a caricacture. Zegler blew her out of the water with her own vocals and her acting. No academy award nomination for her and I'm quite surprised about that. She certainly deserved the nomination over Nicole Kidman. What a crock of shit.

Edited February 9, 2022 by luvthepros

[luvthepros]

On 12/12/2021 at 2:54 PM, Lady Whistleup said:

I just saw this and was amazed. It was beautiful. Both a re-imagining and a homage to the original film. I thought the entire cast was great, especially David Alvarez, Rita Moreno, Rachel Zegler. The songs sounded great. Justin Pecks choreography isn't as great as Jerome Robbins' but there's less emphasis on dancing in this film. Go see it.

Justin Peck's choreography in Spielberg's film is part of what makes this film more gritty and realistic over the 1961 film. Seeing gang members with grittier choreography vs Robbins' balletic choreo is what makes Speilberg's film superior to me.

[Simon Boccanegra]

7 hours ago, luvthepros said:

There was no where near a third of dialogue in Spanish. Most of the Spanish spoken had English replies so it was super easy to figure out the Spanish dialogue. My best guess is there were a total of 20 lines in the entire movie spoken in Spanish and most of those lines were either translated into English or replied to in English.

I think someone connected with the film said that 4 percent of the dialogue was in Spanish,  which sounds about right to me, and people online tacked a zero on and got it into the conversation that 40 percent of the dialogue was going to be in Spanish...which is absurd.

Also, when a line is said in Spanish, the character sometimes then restates it immediately in English. Maria, Bernardo, and Anita are trying to get accustomed to speaking English even at home among each other.

People should see what they want to see, but the language issue should not be a factor here. I hope WSS '21 does find the audience it deserves eventually. Some movies do. Everyone has seen (and most people love) The Shawshank Redemption. That bombed when it was released and didn't do much better when it was re-released after getting Oscar nominations. It only found its audience on video and television.

[tv echo]

Oscar nominations were announced yesterday (Feb. 8) - West Side Story got 7 noms...

Oscars: Full List of Nominations
BY KIMBERLY NORDYKE, HILARY LEWIS     FEBRUARY 8, 2022
https://www.hollywoodreporter.com/movies/movie-news/oscar-nominations-2022-nominees-list-1235088770/ 

Quote

West Side Story and Belfast earned seven noms, while King Richard was nominated in six categories. Those three also will compete for best picture in a category that includes a total of 10 nominees: CODA, Don’t Look Up, Drive My Car, Licorice Pizza and Nightmare Alley round out the list.
*  *  *
A host has not yet been named for the Academy Awards ceremony, which will take place on Sunday, March 27. The broadcast will air live at 8 p.m. ET/5 p.m. PT on ABC.
*  *  *
BEST PICTURE
Belfast (Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, Producers)
CODA (Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, Producers)
Don’t Look Up (Adam McKay and Kevin Messick, Producers)
Drive My Car (Teruhisa Yamamoto, Producer)
Dune (Mary Parent, Denis Villeneuve and Cale Boyter, Producers)
King Richard (Tim White, Trevor White and Will Smith, Producers)
Licorice Pizza (Sara Murphy, Adam Somner and Paul Thomas Anderson, Producers)
Nightmare Alley (Guillermo del Toro, J. Miles Dale and Bradley Cooper, Producers)
The Power of the Dog (Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, Producers)
West Side Story (Steven Spielberg and Kristie Macosko Krieger, Producers)

BEST DIRECTOR
Paul Thomas Anderson (Licorice Pizza)
Kenneth Branagh (Belfast)
Jane Campion (The Power of the Dog)
Ryûsuke Hamaguchi (Drive My Car)
Steven Spielberg (West Side Story)
*  *  *
BEST SUPPORTING ACTRESS
Jessie Buckley (The Lost Daughter)
Ariana DeBose (West Side Story)
Judi Dench (Belfast)
Kirsten Dunst (The Power of the Dog)
Aunjanue Ellis (King Richard)

BEST COSTUME DESIGN
Cruella (Jenny Beavan)
Cyrano (Massimo Cantini Parrini and Jacqueline Durran)
Dune (Jacqueline West and Robert Morgan)
Nightmare Alley (Luis Sequeira)
West Side Story (Paul Tazewell)
*  *  *
BEST SOUND
Belfast (Denise Yarde, Simon Chase, James Mather and Niv Adiri)
Dune (Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett)
No Time to Die (Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor)
The Power of the Dog (Richard Flynn, Robert Mackenzie and Tara Webb)
West Side Story (Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy)
*  *  *
BEST CINEMATOGRAPHY
Dune (Greig Fraser)
Nightmare Alley (Dan Laustsen)
The Power of the Dog (Ari Wegner)
The Tragedy of Macbeth (Bruno Delbonnel)
West Side Story (Janusz Kaminski)
*  *  *
BEST PRODUCTION DESIGN
Dune (production design: Patrice Vermette; set decoration: Zsuzsanna Sipos)
Nightmare Alley (production design: Tamara Deverell; set decoration: Shane Vieau)
The Power of the Dog (production design: Grant Major; set decoration: Amber Richards)
The Tragedy of Macbeth (production design: Stefan Dechant; set decoration: Nancy Haigh)
West Side Story (production design: Adam Stockhausen; set decoration: Rena DeAngelo)

 

Edited February 9, 2022 by tv echo

[tv echo]

Edited February 9, 2022 by tv echo

[SeanC]

1 hour ago, tv echo said:

Don’t be surprised if this film gets a huge uptick in buzz at that point, alas too late for awards season purposes.

Edited February 9, 2022 by SeanC

[tv echo]

West Side Story Set for Streaming Debut on Both Disney+ and HBO Max
By Matt Webb Mitovich / February 9 2022
https://tvline.com/2022/02/09/watch-west-side-story-streaming-movie-online/

Quote

Hot off of racking up seven Oscar nods — including for Best Picture, Best Director and Best Supporting Actress (Ariana DeBose) — the acclaimed musical is set for a Wednesday, March 2 debut on both Disney+ (in the U.S. and most international countries, followed by a March 9 launch in Taiwan and March 30 Japan release) and on HBO Max.

In addition, ABC’s recent one-hour infotainment special, Something’s Coming: West Side Story – A Special Edition of 20/20, is now available to stream on Disney+.

 

Edited February 10, 2022 by tv echo

[Dr.OO7]

I wish they'd tell us when the DVD is coming out

[tv echo]

^^^ West Side Story DVD and Blu-ray release date is estimated for March 2022...
https://www.dvdsreleasedates.com/movies/9558/west-side-story

You can check back later for the exact release date as this site is constantly updating:
https://www.dvdsreleasedates.com/

Edited February 12, 2022 by tv echo

[tv echo]

(source)

[luvthepros]

On 3/16/2020 at 5:04 PM, Yogisbooboo64 said:

My response:

Love you, Spielberg, but WSS is a muhfuckin' classic and should never be touched, PERIOD!!

Well, here it is February 2022 and I've seen Spielberg's adaptation of the 1957 broadway play WSS three times now on the big screen in the cinema. I LOVE, LOVE, LOVE this film. I also love the original 1961 screen adaptation of the 1957 Broadway play and thought this film could never ever be matched. Well, IMHO, Spielberg not only matched it but made a far superior film,

I'm not about all that woke nonsense and I honestly hate the term used today for racist awareness actually. It's just dumb to give it a name but that's just my opinion.

I can not begin to describe all the things about Spielberg's film that is so far superior to the original, I'll be here all day. I just suggest anyone who is interested in what regular folks like me think, just go to YouTube and read the comments on the countless videos about this 2021 WSS. In my "guestimation", 98% of the comments are positive compared to the negative "Nellies" that make up the balance of 2%.

Without commenting on everything that I am enamored about this film, I just want to say that Ansel Elfort had me at "Something's Coming" and made me cry from joy and emotion every time he sang. His voice is so gorgeous without being that "Broadway" type of tenor and just filled with emotion, he makes my heart sing. The allegations against him aside, I LOVED his Tony in this.

[luvthepros]

On 2/8/2022 at 7:10 PM, luvthepros said:

Sorry. deleted double post.

 

 

Edited February 21, 2022 by luvthepros

[Fool to cry]

 

 

 

[SeanC]

Ariana got her SAG Award — next stop, BAFTA?

[tv echo]

West Side Story is now on Disney+ (starting today)...

Edited March 2, 2022 by tv echo

[Laurie4H]

It’s on HBO so I watched it.  Am I the only one who was not that impressed?  The musical numbers were decent but things just fell short to me especially the ending.  The original ending makes me cry every time.  The pacing was so much better.  Natalie Wood’s anger was so much more emotional.  The way each person walked away at the end.  Perfectly directed.  This just didn’t have the same impact.  

Edited March 2, 2022 by Laurie4H

[Brn2bwild]

5 hours ago, Laurie4H said:

It’s on HBO so I watched it.  Am I the only one who was not that impressed?  The musical numbers were decent but things just fell short to me especially the ending.  The original ending makes me cry every time.  The pacing was so much better.  Natalie Wood’s anger was so much more emotional.  The way each person walked away at the end.  Perfectly directed.  This just didn’t have the same impact.  

I agree that the ending for the newer version did not work as well.  The best parts of the original ending included the plaintive singing of "Somewhere," and Maria's genuine anger (say what you will about her overall performance, but she was great in that scene) at the Jets and Sharks.  

The newer version has a lot of good moments, and I like their version of "Something's Coming" much better than the original.  But I think in rightfully mocking the stereotypes and some of the performances, we lose sight of what really worked in the original.  I loved Riff.  I loved Bernardo.  I really, really loved Rita Moreno's Anita.  I loved the stylistic bold colors and the frantic, yet graceful, dancing.  

[jah1986]

Just saw this and loved it. Maybe I went in with low expectations but this adaptation blew me away. My mom was in tears at certain points. I do think having Valentina sing “Somewhere “ gave a different feel, but still powerful. I don’t usually enjoy “grittier” takes on remade or reimagined films but this one worked. I thought all the acting was great. Will definitely watch again.

[wingster55]

On 3/2/2022 at 5:52 PM, Laurie4H said:

It’s on HBO so I watched it.  Am I the only one who was not that impressed?  The musical numbers were decent but things just fell short to me especially the ending.  The original ending makes me cry every time.  The pacing was so much better.  Natalie Wood’s anger was so much more emotional.  The way each person walked away at the end.  Perfectly directed.  This just didn’t have the same impact.  

I completely agree. 
 

I’ll also add that the choreography at the dance at the gym paled in comparison to the original. 

[absnow54]

Watched it last night. Admittedly, West Side Story isn't one of my favorite musicals. Most of the songs just remind me of Gap commercials, and the gang dancing reminds me of that Norm McDonald sketch on SNL. This was definitely a more gritty take, and by the actual rumble, it all felt less silly, but the Jets terrorizing all the businesses with their sweet dance moves, and Tony and Maria declaring their undying love for one another 10 minutes after meeting made it hard to get into the movie. Also, it seemed like everyone was mumbling the entire time. I understood the dialogue spoken in Spanish better than the English dialogue, and I don't even speak Spanish. 

Ariana Debois was brilliant and deserves every award this season. She crushed the role, and I felt so deeply for Anita during her final scenes. 

[methodwriter85]

On 3/2/2022 at 5:52 PM, Laurie4H said:

 The pacing was so much better.  Natalie Wood’s anger was so much more emotional.  The way each person walked away at the end.  Perfectly directed.  This just didn’t have the same impact.  

Natalie Wood may not have been a great singer, but my god, the depths of those eyes.

[Spartan Girl]

On 3/2/2022 at 11:28 PM, Brn2bwild said:

I agree that the ending for the newer version did not work as well.  The best parts of the original ending included the plaintive singing of "Somewhere," and Maria's genuine anger (say what you will about her overall performance, but she was great in that scene) at the Jets and Sharks.  

Don’t sell Rachel’s Maria short. I feel like her anger in the finale was more raw and unrestained at the end, to the point that (if you hadn’t already seen the original) you could believe she might actually pull that trigger. Natalie was nonetheless genuine, but she displayed some level of control while Rachel just let loose.

[Brn2bwild]

12 hours ago, Spartan Girl said:

Don’t sell Rachel’s Maria short. I feel like her anger in the finale was more raw and unrestained at the end, to the point that (if you hadn’t already seen the original) you could believe she might actually pull that trigger. Natalie was nonetheless genuine, but she displayed some level of control while Rachel just let loose.

I definitely think her anger was very well portrayed, but the movie sold her short in two ways: first by not not giving her "Somewhere" to sing at the end, second by not giving her as much time as Natalie Wood to dwell in her anger.  

[luvthepros]

On 2/12/2022 at 2:17 AM, Dr.OO7 said:

I wish they'd tell us when the DVD is coming out

The Blu-ray/DVD will be released March 15, 2022. I will be purchasing for sure.

[Simon Boccanegra]

This will come to the topic eventually. I was watching the 1955 Alfred Hitchcock film To Catch a Thief recently, having seen it only once a long time ago. Besides Cary Grant and Grace Kelly and a couple other English or American supporting players, almost every actor is a native French speaker (the story is set on the Riviera). There's a lot of non-subtitled French in it. But it works the way the new West Side Story works. If you know French, great; if you don't speak a word of it, you get it from the tone and expressions and even half paying attention to the movie.

For example, there's a funeral scene in which a woman shouts at Cary Grant at length. The gist is "Get out of here! You're responsible for my father's death!" It's obvious what she's angry about from the story to that point. 

It made me think about the over-the-top reaction to the way WSS handled its Spanish, mostly from people on social media vowing they weren't going to see it now. I wish someone had pointed out that this "golden age of Hollywood" crowd-pleaser movie, made by Alfred Hitchcock of all people, had at least as much untranslated foreign language as Spielberg's. More, I think. 

[Empress1]

On 2/2/2022 at 3:26 AM, methodwriter85 said:

I also liked the re-intrepretation of Riff- instead of a funny, cocky jokester, he's instead a total loose cannon, who's going nowhere and really knows it. The hungry, gaunt look, the haunted eyes

Agreed. It was almost as if dying was a relief for him. He tells Tony it's OK and smiles a little; the 1961 Riff looks shocked and falls immediately. 2021 movie Riff knows he's going to end up in jail or dead; 1961 Riff hasn't thought much about it, probably.

One thing that differed from the 1961 movie (which I have seen hundreds of times - my grandmother introduced me to it and I watched the VHS over and over as a kid. I know every word. I wanted to be Anita SO BADLY), for me, was the bond between Riff and Tony. I bought it more in the older version. They didn't seem as close in this one. 

I don't think much about Ansel Elgort; I've only seen him in Baby Driver. I liked that  we got more of Tony's back story though; it makes him falling for Maria make a little more sense (not that much sense, given that all this takes place in two days). He's looking for absolution, which Bernardo calls out at the fight. And 1961 Tony is ... kind of dorky, which Ansel Elgort isn't.

Rachel Zegler looked gorgeous in that blue dress at the end, and Ariana DeBose should always wear yellow.