Amor, Sublime Amor

This is probably the best musical ever made. It is fantastic!!! It is loosely based on Romeo and Juliet, but it means that west Side Story had an inspiration, and it is told movingly and powerfully. Right from minute one I knew we were going to be in for a treat. The prologue was brilliantly staged, as was the rumble, which I found a bit disturbing to be honest! Quintet was thrilling also. Richard Beymer and Natalie Wood are wonderful as the two lovers, Wood is very heartfelt and Marni Nixon's singing for her is the very definition of angelic, as is Russ Tamblyn as a very energetic Riff. George Chakiris is also good as Bernado, though I would have given the Best Supporting Actor Oscar to Tamblyn, but it is Rita Moreno as fiery Anita who impressed most, easily one of the best supporting turns of any musical. The songs are fantastic, one of those musicals where every song works, some are funny; "America"(amazing choreography) and "Officer Krupkee" and some heart rending ones; "Tonight" "One Hand One Heart" and "Somewhere". The choreography was enough to have you on the edge of your seat. Everything is right about this movie, and I am shocked it isn't in the top 250, because it should be for it is one of the greatest film musicals! 10/10 without question! Bethany Cox

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 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

Although I think I've seen just about every musical there is from the forties to the seventies, I'd never seen West Side Story until last night. An amazing omission on my part, as having seen it, I just think it's simply wonderful.

I bought the DVD "on spec" in a CD/DVD exchange store in Sydney for $10. I've had it in my hand a couple of times before but have always put it back on the shelf. This time I went through with the purchase and am now wondering what could have come over me, not buying it before.

Those here who have said you really need to watch it on the Big Screen are absolutely right. In my case I watched it using a video projector throwing the image, big, bright and beautiful, onto a 12 foot screen. The photography used the wide screen format uncompromisingly. There was no caution here to frame the action for possible television cropping, or even much consideration given to a 2.35:1 "Cinemascope" presentation. Super Panavision's aspect ratio is not as wide as Cinemascope's 2.35:1, and every square inch of screen space was used for one or another important element of composition.

Bernstein's music is a tour de force. Having watched On The Town only a few days back, it was interesting to contrast the two musicals. On The town is, of course, 15 years or so older than West side Story, but a comparison between the two scores is chalk and cheese. You could tell that Bernstein was holding himself back in On The Town. It wasn't his project. The numbers were almost self-censored. But West side Story was his baby, and it shows.

The sheer brilliance of the music, the enchanting daring of it, its raucous atonality coupled with sweetness of melody are awesomely impressive, as show-stopper after show-stopper is thrown onto the screen to continually up the amazement quotient, time after time.

I played West Side Story loud, very loud. The surround sound knocked my socks off from the opening aerial ambiance of Manhattan streets to the orchestrations themselves. I remember Bernstein in the documentary about the concert version of West Side Story saying, aside to the camera, after "Cool, Boy" was recorded, "You know, this is pretty good..." One of the great understatements, even if coming from the music's creator.

See this film. Play it loud. Watch it on a big screen if you can. If you do you may, like I did, sit there thrilled, swinging your head from one side of the Super Panavision screen to the other, trying to take in the overwhelming avalanche coming at your eyes, your ears and your heart. It was an almost perfect transfer from film to DVD: color, sharpness, depth.

It's been a long while since I've watched a film with a silly grin on my face right through, sometimes gasping at the sheer knock-out brilliance of what film-making can be at its best. West Side Story was one of those times.