Romeo and Juliet in Manhattan - West Side Story

West Side Story (1961)

I spent most of my academic life ensconced in every type of musical ensemble imaginable. No surprise, then, that I've been intimately familiar with the superb score to West Side Story for quite some time. One of Leonard Bernstein's most famous compositions, it melds the traditions of musical theatre with the bombastic leitmotifs of Romanticism, all injected with a substantial dose of American jazz. 

Most musicals contain one or two truly memorable songs; WSS gave us a litany - from "Maria" to "America." I cued up the full WSS soundtrack while at work a few weeks back and - shocker - had difficulty getting much work done. At that time I came to the realization I had never actually listened to the entire score from beginning to end. It's a well-known masterpiece, of course, and remains delightfully infectious. The mixture of Bernstein's raucous riffs with Stephen Sondheim's legendary lyrics combine to produce a simply unforgettable aural experience.

Shortly after plowing through the soundtrack a half-dozen times, I also realized I had never seen the famous cinematic adaptation of the original musical. Released in 1961 to much fanfare, WSS won 10 Oscars (including Best Picture). Rightfully considered a classic, I checked out a copy from my local library and sat down to watch it.

The Sharks (left) and the Jets (right) face off

While it definitely shows its age at times, WSS is a film that I think everyone should see at least once. The plot of film is essentially a modern re-telling of Shakespeare's Romeo and Juliet set in 1950's Manhattan. Two street gangs, one white (the Jets), the other Puerto Rican (the Sharks), are tussling over turf on the Upper West Side. In the midst of their brawling, a young Puerto Rican woman (Maria) and a former member of the Jets (Tony) meet and fall for each other. Like Shakespeare's play, the story ends in tragedy, with conflict between the warring gangs, and Tony slain by a member of the Sharks.

The story is nothing to write home about - it unfolds predictably and with no real twists or turns. What really makes the film outrageously memorable isn't the tragedy of of its star-crossed lovers, but the outstanding score and lyrics - and, of course, like many an excellent musical, the staging and choreography of its dance sequences.

The Sharks showing off their stuff

Choreographed by Jerome Robbins and directed by Robert Wise to perfection, the dance sequences in WSS are simply extraordinary. From the inventive staging and camera angles, to the impressively technical choreography and splendid costuming, the numerous ensemble dance numbers in the film are a sight to behold. Expertly edited and accompanied by Bernstein's rousing score, each song features a wide variety of moods and moves. The diversity of set pieces and styles is really astounding, and the visual direction of each scene perfectly mirrors the music and movement unfolding on screen.

The opening scene ("Prologue"), in particular, is a fantastic example of the best the WSS has to offer. The film opens with a series of panning shots across the cityscape of Manhattan. Accompanied by whistling tri-tones, an extended unison note slowly swells and swells until exploding into a biting resolution while the camera simultaneously zooms at light speed to the Jets, cloistered together in the corner of a basketball court. What follows is 10 minutes of beautifully staged and choreographed dancing as the Jets and Sharks go toe-to-toe. No dialogue, just Bernstein's wonderful music.

The first time we meet the Jets

That's not to say we don't want the gangs to talk! Once they start singing you'll wish they'd never stop. Sondheim's energetic lyrics mix incisive social commentary, lighthearted gamesmanship, and pure machismo while critiquing a range of societal ills omnipresent in 1950's New York - from racism to drug abuse. The film's subject matter is surprisingly progressive given the fact it was released in 1961, and a few couplets in particular remain pretty relevant today:

"Our mothers all are junkies / our fathers all are drunks / golly, Moses / naturally we're punks!"

"Life is alright in America / if you're all-white in America!"

The Jets try to play it "Cool" in an explosive dance number near the end of the film

Despite the sheer exuberance and energy exuded throughout most of the film, WSS does drag in spots. The main romance between Tony (Richard Beymer) and Maria (Natalie Wood) is painfully unconvincing. Part of that may be because the acting hasn't aged all that well, but the over-the-top faux-Shakespearean writing doesn't help things either. Though their love affair is supposed to be the centerpiece of the film, I just found myself wanting the Sharks and Jets back on the screen, and for people to start singing and dancing again. 

While the film's leads certainly fizzle, WSS has a whole swath of outstanding supporting characters. Two in particular stand out - Rita Moreno and George Chakiris. They play a pair of Puerto Rican lovers and steal every scene they're in with a fiery chemistry that totally outshines the dry, wooden interactions of Beymer and Wood. The duo sang, danced, and acted to a pair of well-deserved Supporting Acting Oscars. Moreno later went on to become the first woman EGOT - winning Emmy, Grammy, Oscar, and Tony awards.

Despite a few lulls here and there, West Side Story remains an outstanding film that still holds up well today over 50 years later. The music and choreography make it worth watching alone. Throw in outstanding direction along with a cast of memorable characters, and you have yourself a musical accessible for all ages.

-CC

Not sure if WSS is for you? Check out "America":