West Side Story

Viewing WEST SIDE STORY last night on TCM for the first time in years, I realized what an impact this made on film musicals with its innovative use of dazzling choreography and high-flying camera-work that made it a cinematic experience rather than a stage-bound one.

Robert Wise and Jerome Robbins directed this poignant and powerful musical with a talented cast of performers--Natalie Wood at her dewy-eyed loveliest as the Juliet-like heroine and Richard Beymer doing his best to bring some heart-felt passion to the role of the Romeo-like Tony, but he's too refined to be believable as an ex-gang member. At least he does have some chemistry with Natalie and obviously put his heart and soul into his performing. The voice dubbing for both is done skillfully, but I would have preferred a stronger voice for Beymer.

Rita Moreno (not Chita Rivera as another commentator named her) and George Chakiris are beyond reproach as Anita and Bernardo--and all of the gang members do superb footwork and acting as the Jets/Sharks. Most impressive is the actor playing Ice (Tucker Smith) who figures prominently in the finger-snapping "Cool" number.

This is the quintessential 1960s musical with some expert choreography (the rooftop version of "America" is a standout) and stellar work from everyone in the cast. Leonard Bernstein must have been proud of this film version of his Broadway musical. Robert Wise's firm control in blending the music with the "book" is craftsmanship at its finest.

By all means, a musical that deserved all of its Oscars!!

"Hold my hand and we're half-way there... Hold my hand and I'll take you there...."

Even though I'm not a big fan of this particular genre of film. I found West Side Story to be so impressively produced that it somehow transcended far beyond being just a mere "Musical" in the strictest sense of the word.

West Side Story is literally bursting at the seams and filled to capacity with vivid imagery. This highly-energized film clearly captures the vibrant atmosphere of the late 1950s, where rival youth gangs get their prejudiced, little noses out of joint and prepare to rumble in the streets of NYC.

With its memorable music and songs, dazzling choreography, striking sets and superb direction by Robert Wise, West Side Story is truly a triumph on every level.

This film is a magnificent achievement that (back in 1961) set a whole new standard for modern-day movie Musicals.

I remember when this film ran on NBC television about 25 years ago. After being beefed up with commercials, it had to be shown in 2 parts over two nights. I only saw it in the theater once when I was about 12, and had forgotten many visuals which were cut off on the television screen. So let me just say that the smartest thing MGM-UA could do is present a widescreen, 70mm DVD. It has a gorgeous restored picture (important for visual effects like the dissolve of Natalie Wood spinning around in the bridal shop which blurs and multiplies and finally erupts into multiple dancers who converge at the gym, or the first time Tony and Maria see each other against the blur of the dance competition on opposite sides of the screen) and pristine sound- probably the most gorgeous score ever composed by Leonard Bernstein. There are, of course, stage purists who scoff at the movie (and its many ghost singers), but I always thought the film's adaptation was superior to the stage show because it gave the story a more breathless, one-act pace. Some songs are reshuffled and re-staged from the original libretto, and the background score is given something of a theatrical makeover. And the dancing, of course, is peerless-- whether it's the "Cool" dance with the Jets in a low-ceiling garage, the "America" battle of the sexes with the Sharks, or even the delicate rooftop dance performed in Act 2 by Natalie Wood- bewitching in a white dress and re-living the moment she first fell in love herself. None of these wonders can prepare you for the mind-numbing, emotional, climax.

A tour-de-force film show, clocking in at 152 minutes.

When they say they don't make movies like they used to, this is the sort of film they are talking about. Despite its flaws (and there are some), it is easily one of the best musicals ever made. Beginning with the overture and the opening scenes of New York City, circa 1960, it almost screams "classic." Some have criticized Natalie Wood's Maria (her dubious accent and the dubbed-in singing) or Richard Beymer's Tony (his slightly smarmy interpretation of the ex gang member gone straight), but the fact remains, their wholesome, fresh-faced characterizations defined the roles. And you simply can't top the film's instrumental score, its great songs ("Maria," "Tonight," "America," "I Feel Pretty," "A Place For Us," "I Have a Love," and "Officer Krupke"), its excellent choreography, or its very effective cinematography. Rita Moreno, as Anita, delivers what was probably her best performance in the movies, in particular her dancing and singing in "America," while Russ Tamblyn, as Rif, the charismatic leader of the Jets, is seldom given the credit he deserved. Natalie Wood on the rooftop, anticipating another meeting with her newfound love, is a vision of grace and innocence, while George Chakiris as her brother Bernardo, the leader of the Sharks, is very convincing as the persecuted immigrant/mean-spirited hoodlum. And its not as if these are the only actors who did a great job. A number of the other supporting roles are delivered with memorable professionalism, too. In fact, the cast as a whole is superb.

This movie poignantly (if simplistically) explores the purity of first love, while tackling intolerance and racism head-on, avoiding the tired, politically correct clichés that movies of today too often wallow in. Despite the simplicity of the story, it is always an emotional experience, no matter how many times you've seen it. While it is true that the Academy Awards have become very politicized, and no doubt always were to a degree, this movie snagged ten of them when great movies were being turned out almost as often as mindless pap is today. Not to be missed.

I enjoyed Natalie Wood of course, talented stunningly attractive actress. Richard Beymer too... However, of all the reviews I have read here, hardly a one makes mention of the composer of the music in the film, Leonard Bernstein's music... The melodies are beautiful and romantic beyond compare. Bernstein was a genius, a great composer and conductor of orchestras... Stephen Sondheim had penned the lyrics, but the music came from Bernstein. Well known in the world of classical music, as a conductor he had championed a number of classical musicians, and he was a powerful prominent force on the International and New York orchestral music scene. A man of supreme importance in the field of classical music interpretation. I guess we could say that in the world of "popular music" he will be best remembered for his work here in West Side Story... This music is lovingly crafted by Leonard Bernstein, the master... Comment from Malcolm in Toronto 18th October 2007