One of the changes that I loved the most was seeing the Jett girls trying to help Anita when the Jett's attack her. I think it heightened how monstrous the Jetts where on that scene that not even their peers would stand beside them

Having Tony be an ex-con who almost killed someone and that's why he distanced himself from the Jets is a change that worked well for me. In the original it just seemed like Tony outgrew the Jets like they were some childhood hobby, really undercutting their threat since I don't think it's that easy for people to leave organized crime. Similarly having Bernardo as a boxer and his snark to Riff that the Sharks all have jobs drives home the hopelessness of having to fight like this, for survival and a piece of a place that's about to disappear anyway, while also working real jobs that might disappear as well.

One thing I can absolutely say both films have in common is that Anita is still my favorite character, and America is still the best musical number, hands down! 👏👏👏

The attempted rape scene in the original version always made me feel uncomfortable but it messed me up in this newer version. I mean the white women who originally scorned Anita just as much as the dudes in the beginning of the scene go out their way to try to help before they're locked out Doc's store! Even they knew how messed up it was for the Jets to try to rape an innocent woman because of the hatred in their hearts. I was glad when Valentina called them out for growing up to become rapists.

The change that stuck out to me the most was Chino. How they altered his character made his story the most heartbreaking in some ways. Out of both the Jets and the Sharks he was the one person who had a really bright future. An accountant who was learning machine repair. He was bright, polite, cute and even a bit funny (see him at the dance). Yet in the end his best friend was dead and he became a killer, likely to go to jail for many years or even life. I don't normally cry very much at movies but I've seen this twice now and cried for him both times!

I have a theory that most creatives don’t understand the character of Tony. They think his conflict is being with Maria and it’s really not. Tony is trying to leave his violent past behind, which is clearly the way forward. Maria is even a good partner for him in this regard. His Achilles heel is Riff. Where Tony ultimately fails is not comprehending that in order to keep on his path, he has to let Riff go. When Maria asks him to stop the rumble, he should’ve said “I can’t. The only thing we can do is distance ourselves as much as possible.” Just like is Romeo & Juliet the solutions are actually pretty simple but they’re too close and cannot see the forest for the trees. Friar Lawrence should’ve married Romeo and Juliet and then immediately taken them to the Prince of Verona and told him “I have a solution for your problem.” The Prince announces their marriage and his blessing of it. Bing bang boom, Montague and Capulet would be forced into a position of making public peace.

Here's what i loved about the 2021 version: - they really buffed up the caracters back stories, espacially Maria and Tony's - the relationship between Tony and Riff is given much more context and depth, also Mike Faist is a REVELATION!!! - the "Cool" scene is insanely well filmed and choreographed - Also you can tell tell Spielberg LOVES musicals! Most musical directors seem almost embarassed by the fact that they're directing one (hm Tom Hooper). Spielberg is like "yes these are street gang members dancing ballet in the middle of the street, deal with it!" My two little tiny issues (cause i F%%% loved that movie) - The placement of "i feel pretty" bothered me a little. It's supposed to be this joyous song about falling in love and here in the context of the film it's just sad - The new "America" version is great but the 1962 version just feels angrier and has much more effect in my opinion Edit: wow did not expect for this comment to get so many likes and replies! So cool to read all your opinions and learning so much (didn't know that the "I feel pretty placement was the same than on broadway :) )

I really liked the changed of Tony awkwardly trying to learn Spanish, that was very sweet. All other valid criticisms aside I thought Ansel did a good job of the ‘James Dean’ type. I didn’t like how Tony seemed to think of Maria as his own personal redemption, I did like that Bernardo called him out on it.

The change that surprised me the most was Riff. Tamblyn’s take had a more “class clown” feel to him, and most productions either follow suit or pay little mind to the character despite his importance. The second Mike Faist entered the frame, I knew they weren’t going down that route. With an emaciated build, hardened expressions, distinct body language, you knew they had different plans. Riff being depicted as a hateful, charismatic, almost psychopathic figure really shook the ground. Faist’s performance might be my favorite of the entire year. Every acting choice he makes (the John Mulaney-meets-Paul-Reiser voice, the mannerisms) is “big”. It could have gone wrong in so many ways, but the gambit pays off, and we get a definitive portrayal of the character. Nominate him, AMPAS! Do Kodi Smit-Mcphee too, so we have two Demon Twinks in Supporting Actor

Ansel Elgort aside, I thought the cast did incredible. Rachel Zegler, Ariana DeBose, Mike Faist, David Alvarez and Josh Andrés Rivera really gave their characters so much depth and weight with their performances. All of them added much complexitity and depth to their characters, which makes Riff and Bernardo’s deaths and Tony’s ultimate murder by Chino so unbelievably tragic and devistating

The only change that i felt wasn't a straight upgrade from the original was giving Somewhere to Rita Moreno. Its a cute idea, but without that song, Maria's acceptance of Tony despite the knowledge of his murder of her brother lacks justification. The moment doesn't play right without the two of them singing it together. It also has the side effect of switching the reprise at the close of the film to Tonight, instead of Somewhere which isn't remotely as effective imo.

I was blown away by Rachel Zegler’s singing. She sang like an angel!

The contextualization re: the gentrification of Manhattan's west side (new to me!) helped articulate, as you said, that macro-level of systemic oppression against the WHOLE neighborhood, Jet or Shark. I saw the film this afternoon and what I'm struck by most is Valentina. Who once was an Anita. Now a widow and revisiting the "taunting" scene from the POV of needing to be the adult to break it up. This tiny woman, who has lived a WHOLE life, shouldn't be out on the streets now in her house coat and hair-net. This woman should be upstairs; asleep in the bed she shared with her husband in the apartment above the store she's now being strong-armed out of to better suit the dreams of Mr. Robert Moses. It felt like such a circle. A real answer to "why are we revisiting WSS?" Because in America traumatized children find access to guns and with those guns they end up traumatizing those left behind, clearing the rubble. Thank you for your work--it's tremendous.

First of all, the movie is an absolute masterpiece! Here's my take on Ansel. He gave a fine performance! I'm so tired of seeing comments of people saying "he brought the entire movie down - one of the worst performances - he can't sing - he showed no emotion". In all honesty, he gave Tony so much more depth and urgency than the original. The way he delivered some of his lines was beautiful, and made me tear up. Do I support AE personal life? No. But I give credit when credit is due. I loved the entire move, and you can see the entire cast gave it their 110%.

Comparing the opening scene of La La Land to a GAP commercial (11:00) was not what I was expecting but I'm here for it!

Good commentary, but like all the other commentaries about the new West Side Story, this commentary does not include anything about the transformation of Chino, who ultimately becomes the most consequential character in the story. This is a radical departure from the previous stage and screen versions of West Side Story. In the previous versions, Chino is just another member of the Sharks. In one scene he claims he is an assistant, trying give himself credibility to his fellow Puerto Ricans. He fits in with Sharks easily and baits the Jets into chasing him during the prologue. Bernardo assigns him to escort Maria to and from the dance. He later hinted he was a possible mate for Maria, but it's not something people take seriously. In the new version, Chino enters the story as an accountant and Bernardo has definite plans for him to marry Maria. Chino is nebbish, shy, socially awkward. Chino wants to be in the gang, but Bernardo has other plans for him. He wants to keep Chino out of harm's way. Chino comes late to the Rumble. He picks up Riff's gun afterward. He shows the other Sharks what he intends to do. When they try to stop him, he pushes back and this was something that was not part of his character. He takes off his glasses, so now he's become this monster who is capable of murder. I don't think this is something that should be ignored.

As a person born and raised in Puerto Rico, I can confidently say Spielberg’s adaptation addresses A LOT of the issues of 1961 film regarding cultural depiction. Like you, I was skeptical of a new adaptation, but was pleasantly surprised.

When you change “let it sink in the ocean” it flattens the character of Amita. A lot of people can relate to hating their country - that’s what makes her complex and independent. It’s her saying that about her home - not a general statement about Puerto Rico.

Rita Moreno singing Somewhere was remarkable. Giving her a chance to sing, the song placement showed how things remain the same even as things progress. The Rita Moreno character Valentina is Doc’s widow, and her marriage to Doc is what Tony is striving for.

I was excited to see "I Feel Pretty" in its originally intended placement in the new film, highlighting the dramatic irony in its intended use and to have it set at night again. However, the Rumble sequence rattled me so much that it made me realize that "I Feel Pretty" also needed to be after an intermission because having seen the way they performed the Rumble in this version, one unlike any other take on the scene, really needs an audience member to sit and dwell on it before having the whiplash of the department store. I do think they could have sold that sequence a tad more on its dramatic irony to really make it work, but I appreciate the nod to Stephen Sondhim's discomfort with his lyrics for that song by adding this hint of mockery to the white gringos that María has to work for as a cleaner

Leonard Berstein's brilliant score is the single factor that holds this musical timeless and exceptional. There would be no remakes without it.

Having seen both versions, honestly I preferred the romance in the first one. I don't really get on board easily with love at first sight stories but this one in the 1961 movie was just so compelling and sweet looking that I loved it. Its very fantastical and idealistic but mutual and hopeful and I think the lack of words, the interpretative dancing and the incredible acting made it just work.

For the subtitles debate, while I appreciate the intention of not giving subtitles to the Spanish dialogue, I think it backfires by in a way silencing the Puerto Rican characters to non-Spanish speaking audiences and creates a further divide. What could have been more impactful would be giving Spanish subtitles under English dialogue and English subtitles under the Spanish dialogue as a way of creating a bridge across language barriers on both sides. But that also could distract audiences… Thoughts?

2 changes stand out: the placement of "I feel Pretty" crushed me cuz Maria wasn't aware of what had already happened. Faist' fine acting as Riff. He BECOMES that squirrely punk with no future. I hope one day we watch a biopic of Rachel Z. on how she went from a 14-year old being videoed by her mom singing at a Broadway flea market to absolutely winning our hearts in SS's WSS. [and she can dub for whoever plays her on screen!]

The new version affected me. I can't stop thinking about it. I feel driven to listen and watch it over and over. It must be like people watching the first version for the first time. I absolutely Love both versions. Spielberg walked to the plate, pointed to the left field fence and knocked the movie ball into the parking lot outside the stadium.

I am a latina who has seen both versions and is also heavily involved with theatre. What changes stuck with me? Most deeply, it was seeing other people like me represented in a movie musical. I loved getting to hear Spanish, without subtitles, translating it on my own for my American boyfriend; it was like an special message just for me from the characters. But the moment that brought me to tears was hearing Valentina sing "Somewhere." It was a plea to the world for a change, if not for us right now, then someday for those ahead of us. I cried because it was the original Anita getting to see the progress we've made in casting. This movie gave me hope for someone like me.

Both are exceptional films...The last scene in the 61 version however is so far superior, Natalie Wood et al bring you to tears every time. The last scene in the 21 version is played much too fast and Rachel Zegler so good in the film just didnt muster the depth that Natalie Wood captured, And not using Somewhere in the 21 version markedly damaged that scene imo. But Bravo to all who created both films!

The acting of Riff and Bernardo at the rumble was outstanding. The bravado and cockiness initially of both characters changes dramatically when the knives come into play, and the look of fear on both faces while having the knives, knowing the highly increased danger and uncertainty is inevitable, was acting at its very best. Alvarez and Faust’s acting was amazing and memorable in this sequence.

Enjoyed the new version, but my heart remains with the 1961 take, as its main assets are considerable and still resonate: Moreno's peerless Anita, Chakiris' magnetic Bernardo, and Natalie Wood's powerful closing scene (she may not be of the right ethnicity, but the torment and rage she expresses as Maria is universally identifiable).

Rachel Zegler was in Shrek the Musical??? Absolute queen

The thing that delighted me the most about the new adaptation of West Side Story is how Spielberg and company managed to add their own touches to the classic sequences instead of making them feel like carbon copies of the 1961 film. From small things like how Anita is the one who initiates the mambo music during "Dance at the Gym" to larger ones like the restaging of "America" in order to expand upon the social themes in the song. They obviously pay homage to the work of Wise and Robbins but add their own thrilling reinventions to the material. I also thought including the history of San Juan Hill into the movie did a lot to add stakes for the characters. The back and forth argument between Bernardo and Anita about life in America carries a lot more weight when they're literally watching their lives upended as a result of the systemic racism that has always been part of life in the United States.

I absolutely LOVED Spielberg’s interpretation. It’s so cinematic. On my first viewing I struggled a bit with Ansel’s performance, as it seemed he was singing at the edge of his abilities, whereas the rest of the cast felt effortless. On second viewing his performance gelled much better, and I felt he added some really key touches: you understand why his own violence frightens him.

The thing I always liked the most about the original is how it acts as an historical document of the demolished neighborhood where it takes place. It was a unique and powerful but sobering opportunity the filmmakers had at that exact moment.

In terms of the authenticity of the new version in its portrayal of Puerto Ricans, I'm torn. It's funny how the goal post has changed, it would've been a dream to have a half Polish half Colombian girl play María in the original. In this new one, it's a little sad. Generally, as a Puerto Rican, I'm ok with Latinos getting cast in Latino roles even if the nationality doesn't line up, but there's a few places where the new one still falls short in ways I think are inherent to the material. Firstly, for as much as I love Tony Kushner's screenplay (seriously, the amount of detail he added is astounding), I found it disappointing how much of the screentime still leaned on the Jets. Granted, it's a rivalry, a two sided love story, both sides need their time. But... that's kind of the issue. I got the mentality of the Jets very quickly, I know them from other films and real life stories of white men just like them. I was particularly hoping Bernardo and Chino would get just a little more TLC, but it seems that attention went to Mike Faist's Riff (which, I must admit, is the only Riff I can solidly say I love). I'm wondering what would it have looked like if a Puerto Rican screenwriter or co-screenwriter was brought on. Would it still be such a two sided story? What more insight could we get for the Sharks' relationships to their identity? Hell, here's a big one, would María still forgive and have sex with the gringo that killed her brother just an hour or so after he killed him? But at that point it feels like this is just the story we have and we can't deviate too much, which is a problem when the story concludes in part with María loving Tony till his death and cares more for him than her own brother. And the second element is just a scene, but it's the scene that stuck out to me the most from the film. When the Sharks sing the Revolutionary Anthem of Puerto Rico a tear rolled down my face. I never thought I'd see a loving moment dedicated to Puerto Ricans directly standing with the Independence movement. This anthem which is still taboo even in PR to this day finally got a moment in the sun... in a movie not written or directed by Puerto Ricans, by actors that were not Puerto Rican. David Alvarez is truly phenomenal as Bernardo, I don't think he's been getting the credit he deserves, but a part of me was sad that a Puerto Rican couldn't get this moment instead. This Revolutionary anthem is getting the spotlight in a major Hollywood film, but Puerto Ricans can't get to sing it yet. (And, side note, looking at the slate of movies this year vs next year it may be a while untill we do see it bc I guess Hollywood ran out of big Latine projects after this year). So all in all, I really liked this movie, this musical holds a special place for me. But I kind of hope this is its last hurrah for West Side Story because I think we've done all we can with it. It broke so many barriers in film and stage, but it can't just be this and In the Heights for the rest of time.

The humanization and complexity of Riff’s emotional desperation and hopelessness was so vivid in the 2021 version.

I thought that tracking the gun that kills Tony, from Riff's purchase through Chino shooting Tony was among the most brilliant touches. Backstories however seemed pasted on. It's like speaking subtext. We don't always need to be told. Let backstory inform the character and don't feel it necessary to tell us.

We should point out how utterly pointless it would be remaking a classic film and making it exactly the same. So what do we really want in a new version of a movie as spectacular as the 1961 West Side Story? We want a movie that delivers all the sixty years of advancement in film making. It's okay to attempt to right the mistakes, if any, of the original because your work will exist as a sign of its time. And you can't bring ask creative people to make replicas, you want them to create. Spielberg's West Side Story does all that. Wisely what changes the least is the Bernstein, Sondheim music.

I appreciated the inclusion of the gentrification in the narrative, but also wish that it paid off in a clear emotional way rather than as something I had to extrapolate for emotional context.

The thing that "kinda" bothers me of the new version was that they cut out the best and basically all the dancing moments of the sharks (the male members), like... Bernardo was the extra of extras in this new version 😂

I really liked the placement of “I Feel Pretty”. It added a tragic irony to it that brought it down to earth in a way. Also, as much as I loooove the choreography in the original, I appreciated how they kind f toughened it up a bit for the gang members. I feel like the 2021 version was just in general much more grounded.

i just screamed ‘LET’S GO’ and threw open my laptop to watch this this channel has a death grip on me

I think with both versions the main problem for me are Tony and Maria and their lack of chemistry, you have to believe that these two are so in love and in lust that Maria would forgive Tony for Bernardo's murder and run away with him, I think Richard and Natalie have more chemistry than Rachel and that guy. I wish they would have gone for an unknown for Tony too or at least someone with more charm and wonder, and Rachel was great but I think she just needed a little bit more acting experience especially in the last scene, Natalie Wood in that scene is absolutely devastating. In the end the ones who always shine more are Anita, Bernardo and Riff. Keep doing you BKR :)

I absolutely adored the original when I was younger. But the 2021 version knocked SO many things out of the park! You covered a lot of it, but one thing I noticed (which kind of deals with casting) is the screen chemistry. It’s ELECTRIC! The hatred is very real and a driving force, which shows viewers why the 2 gangs just won’t quit. The chemistry between Tony and Maria is dynamite; and in a “love at first sight” story that takes place over 2 days, the plot falls flat if it isn’t. But I couldn’t believe how the sparks just shot from the screen

For me a major difference in the films is the way that music is used. With 2021 I felt like the major emotional hits came in the dialogue performances. For me the music served less as a pure expression of the emotion of the scene and more like the cushion those emotions rested on after they exploded.

If you ever want to torture your ears, listen to Pierce Brosnan in "Mama Mia!" His casting in the film is still a mystery to me.

All of the cars in the modern version are shiny clean Hollywood phonies. In 1961 they look real. The slickness of stuff like this takes me out of a movie.

The visuals in the new version really stood out to me. Obviously the original has a very distinct look of a Hollywood musical at the time - stylized in a way that is dated in a very particular way when watched today. The new version somehow managed to strike a balance between modern and a pastiche/throwback to classic musicals, that results in an overall look and feel that is truly timeless. It's maybe my favorite aspect of a film that I adore so much else about as well.

God the Gym Scene always has such INCREDIBLE choreo in both versions! It was my favorite part of both films

Damn, I feel like the only one who hated the new placement of 'Cool'. I absolutely love the intense, stagey-ness of the 1961 version; it really hits hard and you get into the minds of the Jets after the rumble. It's, in my opinion, one of the most powerful and my personal favourite number in the whole show. In the 2021 version it just felt flat and unnecessary. I generally enjoyed the remake, but I couldn't help but feel like the score - the thing that makes West Side Story so immersive and iconic - was an afterthought to the creative team. It's a good movie and I loved the casting of actual Latina actors, but it somehow fell slightly flat and I left the cinema feeling underwhelmed.

The main difference that I noticed in the newest version of West Side Story was when Rita Moreno sang "Somewhere." In my mind, it radically changed the whole point of the story. We were no longer looking at a couple who were trying to find acceptance to a whole race of people searching for equality. I think this was contrary to the original pupose of the musical which was to mirror Shakespeare's Romeo and Juliet story.

Im a 53 year old puertorican from the island. As much as i adore Spielberg, and Kushner, and the unbeliavable orchestration of the score, i left the theater feeling like...why?...I just dont think it's a material to be remade. The attempts only softened the problems a bit, i feel. Still, sure, there was some lovelyness there. Love your channel, btw !

One thing I couldn't shake afterr watching the Spielberg version was, as far as the story allowed, there were much stronger character arcs for the women in the story. For example, seeing Graziella thrown out before Anita's confrontation with the Jets, and the look on her face as she struggled to try and prevent what she knew was about to happen and silently seeing her anguish outside thru the store windows, that was incredibly powerful, With the Valentina role/switch with Doc, with the gendered seating at the police station causing Anybody's such discomfort, I found myself often looking at the gender story underneath the racial one, and in fact when it comes to streaming I want to rewatch specifically to pick up on that. Great commentary, btw, subscribed as a result

OMG posted 7 minutes ago with hundreds of views already. I'm glad others are enjoying your content like me! Thanks for all your hard work

I had never seen West Side Story before seeing this new version in the movie theater (I knew about Maria, Tonight and the menacing clicking but that's about it) and I have to say I LOVED it. I'll be sure to go back to the '61 version at some point but I had a great time with this one.

West Side Story is hands down my favorite movie. I credit that movie for getting me into musical theater in high school, so I was very nervous to hear it was being remade. I saw the remake opening day and was blown away by how good it was. The additional scenes and character backstories made it feel more like a movie and not just a musical that was turned into a movie. The placement of One Hand, One Heart in the 2021 version was a beautifully done and I may or may not have started tearing up in the theater, haha. I also want to comment on how visually appealing the remake is, especially with the usage of color scheme for the Jets and the Sharks during the dance at the gym scene.

They made Maria too independent. In a real person, that's an admirable quality. However, West Side Story needs a Tony and Maria who in love to the point of being self-destructive. Tony is willing to die for Maria while Maria is still considering whether or not to go on a second date. That's not saying that Elgort did a flawless job or that Tony was perfectly written for the new movie. Neither are true. The new film is very flawed, but I think the changes they made to Maria are the most serious. They just break the film's logic.

"I Feel Pretty" is more correctly positioned earlier in the 1961 film, before the rumble. In the remake, it's hard to enjoy the light-heartened scene with Maria preening jubilantly before mirrors and her friends teasing her knowing that two young men have just been needlessly killed.

I don't know how they did it, but the music seemed new to me. I grew up with WWS and this version was like all new music to me. My only complaint is I wish there was more dancing, but this is an incredible movie.

I loved the new West Side Story for so many reasons. We got to learn a lot more about the characters and their motivations and I think it made the story a lot stronger. One change I didn’t like was in Maria’s monologue at the end after Tony dies. In the original she says “You all killed him, and my brother, and Riff. Not with bullets and guns. With hate! Well I can kill too, because now I have hate!”, and this very clearly lays out the theme of the story and to me is a very iconic line. In the 2021 version she just says “I can kill now because I hate now” which is a lot less poignant and the exact meaning of that line isn’t very clear without the context of what she says in the original. I would have kept the line the same.

“Angle Export” I’m dead

A couple of people in the comments have mentioned this already but the change that really struck with me was how Chino was handled in the new movie. I really appreciate how he was a character rather than a prop for tragedy. The second he was introduced in the new movie as this sweet young man who's getting into accounting and really seems like he has a good future ahead of him, my immediate thought, having seen the original movie, was "oh no, this poor kid" and I loved that

Something that I think shows the contrast between casting in 1961 and present day is the casting of the new Disney princesses (Rachel Zegler as Snowhite and Halle Bailey as Ariel). Not only does is it show the double threat aspect that you mention, but also pushes the boundaries on who gets to be in the limelight and what we consider when it comes to casting.

I am on Team No Dubbing. For me, the voice is such an important part of the character. I have the Julie Andrews My Fair Lady. Hire more “obscure” Broadway triple threats, please!

This was the history I was dying to know about! I love the inclusion of the Lincoln Center/gentrification context in the new movie and I'm so glad you broke down the history of the show and the west side. It also adds color to the story because ultimately neither gang wins. I'm still a much bigger fan of the original and had to rewatch it immediately after the new one. It has such clear visual language and even without the sound on, I can always understand who is who, what is going on, and what they're feeling. The new one was beautiful to look at but also felt muddled, less impactful- like so much cinematic grandeur but it would take me a while to know what I was seeing, and this would affect the emotional resonance for me. Maybe as a POC, I already felt the racial hostility in the original story and didn't need all the extra expositional dialogue of 2021's. Instead, I needed to feel and see their pain and anguish, and the original is so successful at it!

That was the best and most comprehensive examination of the two movies I've seen thus far on YT. From my perspective, the Spielberg inclusion of the Moses expropriation and displacement of impoverished racial and ethnic minorities was the highlight of his "updating" of the narrative. It provides a welcome, if not essential, context and insight into the stakes and common struggle experienced by both "gangs." Despite the fact that WSS was at the forefront of a nascent realism entering American cinema in the early '60s, it didn't really come to fruition until the demise of the Hays Code in 1968 and the American "new wave." And yet, the impact of the attempted gang rape scene was nonetheless far more traumatic in the Robert Wise version than depicted in Spielberg's ostensibly unfettered "post-modern era" iteration. An odd choice, indeed, to water down the brutality of such a violent encounter to nothing more than the cinematic equivalent of a rude remark. Be that as it may, I still like this new iteration a great deal overall. It will never, however, supplant the Wise/Robbins production. Yeah, the former may be more "realistic," but realism is not, and never has been, an inherent quality of a superior film.

I love the new West Side Story very much, but have some minor notes. I do feel that putting I Feel Pretty back at it's original place from the stage production (right after The Rumble), only proves that it was the right decicion in the 1961 version to sing it earlier (before One Hand, One Heart). The lightness of the song doesn't work witht the dark tone the story has just taken. Altough, I do think that the new interpretation of Cool is inspired, it also comes at a prize. It puts Tony in a frame of mind that doesn't quite match with his mood in the Tonight Quintet that follows immediately after Cool. And in shear excecution Gee, Officer Krubke in the 1961 version is unmatched. That said, I love the new version for the reasons you mention in this video: the broader social context, the Latino casting, the gender switch with Doc/Valentina. And I do think Spielberg's musical numbers are a worthy succesor to those of Wise and Robbins. And I do think that Ansel Elgort in an improvement on Richard Beymer. Altough that may sound like daming with faint praise, you never believed Beymer as a former gang member who is just about to grow up, you do get that feeling with Elgort.

Spielberg and his team absolutely killed it with the new version, absolutely brilliant on every single count - Cinematography, choreography, casting (Ansel’s exception), music, editing, screenplay everything. ONLY major wrinkle, the ending (last 5-7 mins of the film). Ansel’s reaction to Maria’s news was so cartoonish I almost started laughing and I found Rachel’s lack of devastation at Tony’s death disturbing. I thought it was emotionally flat and didn’t deliver the gut punch I felt with Natalie Wood (although I didn’t cry in that one either but still). I wish there was a way for Spielberg to go back and reshot those last 5-7 minutes of the film and make it as emotionally impactful as E.T. And you’ve got the absolute perfect version of WSS.

It's 2:37 am in the UK, I've been struggling to sleep all night. You've got no idea how happy this notification made me!!!

Man, you talk good. I mean, holy cow, each essay is the most articulate thing I've heard.

Was hoping you would mention Cher's version!

For me, the change that stuck out the most, and was 100% influenced by the casting, was giving Somewhere to Rita Moreno. The 1961 version didn't really know what to do with the number either (it's a dream ballet on stage), but at least they gave it to Tony and Maria. This new version lets Rita Moreno sing it, and to me it felt like giving her the song just because it was the legend Rita Morena. Not giving her a song would have been like having Idina Menzel in Enchanted and not letting her sing all over again, something you just don't do, audiences expect Rita Moreno to sing when she appears in west Side Story. But it's also the only time that one of the adult characters gets to have a song, something that West Side Story pointedly has never done before. Taking a song about the hope for a better world from the naive youthful characters and giving it to the oldest character in the movie is a huge change (similarly, having One Hand One Heart in an actual chapel misses the playfulness of Tony and Maria's mock wedding), and it also changes the ending because we don't get the devastating reprise anymore, Maria just reprises Tonight when Tony dies. The new movie is a good adaptation overall, but for me, this one change just didn't work for me.

omg "Angle Export" at 32:56 I'm dying

so interesting to hear the 61 version was considered uniquely realistic for its time cause when i saw it as a kid, it was one of the first musicals from that era i saw and i couldnt get over how corny the snaps and dancing seemed. i think id have a better appreciation for it now lol but its so true that an audience today probably wouldn't have been prepared to see something similar again

I love these videos from you! I first discovered this channel from your comparisons of the versions of 'A Star is Born' and you really do a great job of breaking down the intricacies of whatever you're talking about.

I highly recommend the documentary 'The Opera House' for anyone who wants to learn more about the creation of Lincoln Center, including the destruction of the neighborhood in which West Side Story takes place, by Robert Moses under the auspices of 'slum clearance'. The documentary does a very good job of covering the whole process, from the passage of federal legislation that allowed Moses to do what he did, to the geopolitical climate at the time, to the voices of people who were displaced. It's an amazing documentary and an excellent investigation into New York City in the 1950s and 60s. Leonard Bernstein even appears in a clip in which the New York Phil plays at the ground breaking ceremony of the site prior to the initiation of construction of Lincoln Center. People involved were either interviewed (most prominently, Leontyne Price, the great American soprano who performed at the opening of the new Met in1966) or profiled (Robert Moses, Sir Rudolph Bing, general manager of the Metropolitan Opera at the time). It's a great companion piece to any West Side Story fan that wants a more in depth look at the time period.

My god, you really are the gift that keeps on giving! Everytime you post, it adds 5 years to my life. Thanks SO much, Izzy, I hope you enjoy the holidays and manage to relax!

You’re spoiling us ! I didn’t expect another video so soon . Three in a short period of time. I love the content in all of them.

31:06 "Unless you're Aaron Sorkin" SAY IT GIRL

This is fantastic. First time to comment here but I wanted to let you know I’ve followed your channel for over a year. It’s brilliant, well researched, eye opening stuff. I’m saving many of your videos to show to my daughter when she’s old enough. Your best actress series is amazing and highlights the that even though things are changing, Hollywood still has a long way to go. THANK YOU for this channel. We appreciate you! Happy Holidays!

West Side Story is one of the rare Remakes, like True Grit and Evil Dead, that really didnt need to be made at all, but is still great none the less.

Absolutely love your videos. So calming, well contextualised, researched and written.

i always forgot about the taunting scene, even after doing the show. i cannot forget the new one. anita and graziellas faces are burned into my mind. the though that, yeah they hate each other but still want to stop that cuts so deep with me

This was my first time viewing your channel. Half way into the video, I subbed. Excellent insight, just enough humor and an all around pleasant voice to listen to. Thank you!

Outstanding video! I just saw the movie yesterday and can’t stop thinking about it. I’ve been looking for a good video about it and found your channel. Subscribed! 👍🏼

I love your channel and I clicked on this video faster than Maria and Tony fell in love. Saw and loved Spielberg’s version asap; will probably rewatch this more than the older but will always appreciate the older. I’ve seen more amateur productions than I can remember.

I saw the original when it came out. They can make a hundred remakes. The 1961 version will always remain the best.

Another masterful job of bringing together the elements to illuminate and inform. Oh to have had access to Spielberg's footage and the sound tracks! This is such a huge promotion for both films, it makes no sense the studios would deny you use. But again, what you've accomplished without those sources is awesome. Keep up the good work!

Nous sommes là et votre prononciation est impeccable ! Merci pour votre travail et cette super vidéo.

I watched the film today in the cinema and was surprised that the English was subtitled but the Spanish wasn't. This actually felt alienating. This was in the Netherlands and the dutch don't speak English or Spanish (better at english) so I just didn't understand full sections of the film. odd choice

I'm 69, so had the privilege of seeing the 1961 film on its initial release. It changed my life. I came to the Spielberg version very dubiously but am delighted to say it's wonderful. It reinstates a few snippets of the music dropped from the first film, and its script is in many ways a big improvement on the earlier film. My two criticisms are minor. While I think the way it handles Cool is clever and effective, it loses the bone-jarring intensity of the 1961 film's approach. While it was a luminously brilliant decision to have Moreno sing Somewhere, because of that change Maria unfortunately couldn't sing its reprise as Tony dies, and Tonight just doesn't feel right there. Personally, I'd have opted instead for some part of One Hand, One Heart. That said, I now have two incandescent WSS movies to treasure. And my tears still aren't dry over the loss of Sondheim. Thank you, SS2, for making the last years of SS1's life so rewarding.

Thank you for the excellent recap and commentary. Just stumbled on this channel. Wonderful.

I was 13 when I saw WSS with my dad. Now my daughter is coming with me this weekend to see the new version. Incidentally, I shared your caparable version to my friends. Thanks very much. New subscriber.

2 videos in 2 weeks? It really is the season of giving, thank you! Folks, join her Patreon!

Thanks for all the hard work creating these vids They are a lot fun educational and interesting

Richard Beymer is easily the better Tony. His role in the story is the romantic lead. His past as a Jet doesn’t necessarily have to be believable, especially since he hasn’t been a Jet for years at this point. What he needs to be is a believable partner for Maria. And the tenderness, devotion, sincerity, and passion Beymer brings to the role is truly phenomenal, not to mention the palpable grief and rage at Chino in the final scene. Ansel Elgort couldn’t be more miscast if he tried to be; he gives off creepy vibes from start to finish, does so much red flag behavior around Maria, leers at her like a stalker, and delivers all his lines to her - especially the all important “Te adoro Maria” as if he’s drunk.

Never watched your channel before but great video! Props for the editing and the interesting insights!

I need to see the 1961 version again to fully decide how the two stack up against each other, but I still think the original holds up against this remake in my eye. I think Kushner’s script, while adding context for the overall time of the musical (since the remake is a period piece whereas the original was timely to the current era), overall lost sight of who everyone was as a character as opposed to people with identity. The remake is more realistic and fully fleshed out, but I don’t think that’s what a Romeo and Juliet retelling necessarily requires-all of the characters at their core are archetypes balanced with historical context and I just don’t see that balance being properly struck in Spielberg’s. Also the original seemed to make much better use of Bernstein’s (fabulous) score where the remake seemed to kind of leave it out at some points which made me a bit sad. Overall pretty good remake, and definitely a necessary one for everyone who cringes at the og’s brownface, but I just don’t think it hit the same level in my eyes :/

Since you asked, here are my initial impressions... I had reservations watching the opening. For me, nothing can hold a candle to seeing Russ Tamblin lead the Jets in at the start of the '61 version. However, when they got to the the dance scene where Tony sees Maria it really took off. It's a lot grittier than the original. And the Puerto Rican characters had much more depth. Despite my lack of skill in Spanish (as a 2nd generation Puerto Rican/Italian who only speaks English), I also appreciated the absence of subtitles. That seemed to give more import to the lives of the characters. Definitely worth the price of admission. 👍

Wow. The video is so well done….research, commentary, brilliant clips. I have subscribed and will become a patron. Thank you, wonderful lady.

I always love your video essays, loved this too (Especially as I haven't seen the new one yet).