Sympathy for the Devilish Delinquents

Pop culture has no shortage of Romeo and Juliet references; from Taylor Swift’s song “Love Story” to an animated adaptation for children about warring lawn gnomes (Gnomeo & Juliet), audiences love to hyper romanticize Shakespeare’s famous tragedy. Romeo and Juliet are hailed as the ideal lovers: Romeo, the handsome, intelligent hero, and Juliet, the beautiful, innocent damsel. This is furthered in Steven Spielberg’s recreation of the Broadway classic, West Side Story.

see trailer: https://www.youtube.com/watch?v=A5GJLwWiYSg&pp=ygUcd2VzdCBzaWRlIHN0b3J5IHRyYWlsZXIgMjAyMQ%3D%3D

Figure 1: Between two balconies"

West Side Story is a dramatic retelling of Romeo and Juliet set in a borough of 1950s New York City. The area is being torn down for gentrification causing two gangs of youths to fight over the remaining neighborhood; there are the Jets, Caucasian boys from immigrant families (i.e., Irish, Polish, etc.), and the Sharks, Puerto Ricans who just immigrated. The heads of each gang, Riff for the Jets, Bernardo for the Sharks, plan an all-out rumble to determine who has control over the borough. The musical follows the ill-fated romance of Tony, a former Jet and Riff’s best friend, and Maria, Bernardo’s sister as the neighborhood literally and figuratively falls apart.

Spielberg’s version of West Side Story is, arguably, a closer adaptation of Romeo and Juliet than either the stage show or the Robbins and Wise production. There are hints and connections throughout the film like Graziella (the Rosaline of West Side Story) mentioning “Tony cared about me once” (West Side Story, 2021), referencing Romeo’s fickle heart and his affection for Rosaline before Juliet, and Tony and Maria physically going to a church-like museum rather than a fake ceremony in a dress shop for their “wedding” (see fig. 2).

Figure 2: Tony and Maria get married

Spielberg generally follows the stage version of West Side Story, giving nods to the original film adaptation by Robbins and Wise in 1961 in replicated choreography and color theory, and altering what problems were attached to 1961 production like racial miscasting, singing voiceovers for actors. The actors in this new rendition sing and dance for themselves; there are even a couple of live recorded songs used to highlight the talent of the actors including “One Hand, One Heart” with Ansel Elgort as Tony and Rachel Zegler as Maria. The other live song is “Somewhere”, but instead of having Tony and Maria sing post coitally as in the Robbins and Wise version, it is sung by a new character: Valentina, the Puerto Rican wife of Doc, played by West Side Story legend Rita Moreno.

It is indisputable that the musical performances in Spielberg’s edition are flawless, but the film suffers from character choices and representations. The actors presented some interesting characterizations that differ from those in the Robbins’ and Wise production. In contrast to Natalie Wood’s portrayal of Maria, Zegler gives an emotionally and mentally stronger Maria with more agency. She initiates the first dance kiss with Tony. She stands up to her brother’s patriarchal views and even has dreams of attending the local college. In one argument with Bernado she says, “I’m gonna think for myself” to which he replies, “As long as you live in my house…”; Anita interrupts him and notes, “This ain’t your house. She pays rent here, same as me and you” (West Side Story, 2021). This agency lends well as an adaptation of Juliet as she is not afraid to combat the views of her family. Despite this, Zegler still visually presents as a doe-eyed, Disney princess-esque character merely there to push along the plot.

The majority of fine acting is showcased not in the main lovers, but the ensemble cast members, primarily Riff played by Mike Faist, and Anita by Ariana DeBose. They present complex, emotional characters that are arguably far more compelling than Tony and Maria. Anita is such a well-written role that can be daunting to play, but DeBose performed with a strength and vivacity that is unparalleled by her costars. DeBose did Moreno’s original role justice and gave a believable character arc from “America” to “A Boy Like That / I Have a Love”. Faist also gave a surprising performance of Riff that showed more vulnerability than that of Russ Tamblyn’s role in 1961. He is not simply a racist bully; he is a kid terrified of losing the only thing he has (his home) and lashes out as a child would. It is his final breath that garners sympathy from the audience as he grabs Tony with tears in his eyes, a smile on his lips, and says “It’s alright” (West Side Story, 2021) before he falls. Spielberg presents a Riff that has more of a bond with Tony, just like Romeo and Mercutio.

Elgort’s Tony would be fine on his own but surrounded by the extraordinary performances of Faist and DeBose, he falls flat. Despite Spielberg’s effort, Tony is not a hero. The film caters to building sympathy for Tony by giving him more information for his backstory (why he was in prison for a year, pushing him to change his life), having him attempt to learn Spanish to charm Maria, and having him be overall more accepting of those the Jets resent (i.e., the Puerto Ricans and Anybodys). Even with Elgort’s beautiful singing in the song “Maria” and dynamic choreography in “Cool”, it is hard to love Tony, especially as Elgort is currently getting backlash over a #MeToo allegation. Just like with Romeo, the audience tends to love Tony; his death is like that of a martyr.

Figure 3: Almost like praying

Other than the choreography, singing, and ensembles’ acting, Spielberg’s film shines through its cinematography. The film presents some beautiful visual metaphors throughout the film. It begins with the opening tracking shot of a broken, torn down fire escape which foreshadows Tony and Maria’s inevitable doom (see fig. 1). Spielberg presents another compelling visual metaphor with a bird’s eye shot as the two gangs meet for the rumble in a salt warehouse. The Jets and the Sharks enter, but the viewer only sees their shadows stretch across the warehouse floor; they are indistinguishable from each other highlighting that, just like the Capulets and the Montagues, neither side is in the right when relying on hate and violence.

Figure 4: "At the rumble."