Steven Spielberg in order of release West Side Storey, the question of why the filmmaker would take up the project as his 38th feature is a valid one. There’s clearly an allure for him to make huge, grand musicals – an area he hasn’t fully explored in his 57-year career – but at the same time the project is not just a remake, but a remake of a film. Which won the Academy Award for Best Film upon its release in 1961. Spielberg is a director who has the power of the industry to make any film he wants to make, so why walk on such holy ground just in the name of exploring the genre?
This isn’t really a question that can be answered before the movie even airs, because as it turns out the only response required is the new viewing experience. story of the west, The basic plot is very similar to that of the 1957 Broadway musical, by William Shakespeare. Romeo and Juliet and relocating it to New York in the mid-1950s, but what it has achieved in the form of an exploration of the cinematic art form is utterly breathtaking. In his latest collaboration with screenwriter Tony Kushner and cinematographer Janusz Kaminski (among others), Spielberg has created one of his most mesmerizing works of all time, both visually and aural – with spectacular visuals and a cast of With troop that is truly phenomenal… save for an outlandish performance that proves to be an exceptionally weak link in the series.
Like its on-stage and on-screen predecessors, story of the west A battle begins as tensions rise between the Jets, a gang consisting of predominantly white inner-city youth, and the Sharks, who represent a growing population of Puerto Rican immigrants in Manhattan’s Lincoln Square. . As the city continues to grow and undergo urban renewal, ushering in a new era for the wealthy in New York, the existence of the two groups becomes dependent on increased regionalism, and both personality and racial tensions only exist. Work to increase the heat between. faction. The leaders of both sides – Riff (Mike Fast) and Bernardo (David Alvarez) – prepare for a fight to the death.
Caught in the middle of this conflict are Maria (Rachel Ziegler) and Tony (Ansel Elgort), a pair of star-crossed lovers who fall for each other at first sight during a school dance. Maria is Bernardo’s sister, and Tony is the former co-founder of the Jets who is now trying to lead a peaceful life – having recently relinquished his leadership position after killing a rival and serving a prison sentence. The couple quickly fall in love and they plan to run away together, but the feasibility of such an attempt is questioned as war and violence are evident in the atmosphere.
Fearing for the people they care about and don’t want to leave before the circumstances are settled, Maria and Tony work to ease the bad relationship between the Jets and the Sharks, a secret set out as the final showdown. Try to persuade the thunder to go away. between gangs. But whether or not this is actually possible is a notion that is highly doubted as all the characters barrel toward tragedy.
Steven Spielberg’s West Side Story is a stunning cinematic time machine that sometimes feels unreal in the energy it successfully captures.
When story of the west First conceived for the stage by Jerome Robbins, Leonard Bernstein, Stephen Sondheim and Arthur Laurents, it was a contemporary story to capture the energy in 1950s America. Steven Spielberg’s vision clearly changes that perspective while maintaining the setting, giving it a period piece, but it only serves to give it access to a new kind of magic. It is not only surprising (and less importantly frightening) how relevant the social themes of the piece are when it comes to the work we are doing in our society today – particularly in relation to class warfare, policing, gentrification and immigration – but it can be Gone in such a way that it doesn’t feel like entertainment. Watching the movie, you wonder if Spielberg got access to time travel technology and decided not to tell anyone about it.
The 1961 film from directors Robert Wise and Jerome Robbins doesn’t shy away from what it owes, as it carries a lot of iconic imagery from the classic film—but it builds on material with a wider scope (pronounced with superb crane work by Janusz Kaminski) and a whole lot of transportation experience. From production design to costuming to makeup, everything is done with remarkable authenticity that pushes the present out of your mind.
Rachel Ziegler and Ariana DeBos are destined for incredible things in the wake of West Side Story.
touches upon one of Steven Spielberg’s geniuses story of the west Casting his ensemble primarily with newcomers. Not recognizing the primary characters from other projects and productions serves to beautifully enhance the illusion that audiences are looking at a window into another era. Obviously working with unproven talent on the big screen is a risky proposition, but the filmmakers’ instincts prove to be unprecedented. That’s not to say that veterans like Corey Stoll, Brian D’Arcy James, and Rita Moreno don’t deliver outstanding performances, playing Lieutenant Schrank, Officer Krupke, and Valentina respectively (who is an iterative iteration of the character Doctor from the theatrical production)/ 1961 Movie), but it’s the newcomers who own the film.
Ariana Debos, who plays Anita (Maria’s best friend and Bernardo’s girlfriend), is ultimately about to steal the champion scene—as she has a captivating screen presence that goes supernova during her scintillating rendition of “America.” — but that in no way dilutes the female lead, as Rachel Ziegler as Maria delivers a gorgeous and haunting twist that will stick with audiences for a long time. As the two primary figures at Loggerheads, Mike Faust and David Alvarez are both brilliant, and special credits to Kevin Kosolak, John Michael Fumara, Jess LeProto, Ben Cooke, Miles Erlik, Patrick Higgins and Kyle Allen as the Jets gang. needed. The members who bring the house down with the musical number “Gee, Officer Krupke”.
Simply put, Ansel Elgort doesn’t get the job done as Tony in West Side Story.
Unfortunately, it also contains a kind of witchcraft. story of the west, and his name is Ansel Elgort. Actor, best known for his turn in Edgar Wright’s film baby driver, certainly demonstrates some amazing vocal skills in the film, especially in the singles and duets “Maria” and “Balcony Scene (Tonight)”, but her presence in the ensemble cast more like a misplaced puzzle piece. is felt. He doesn’t delve into the magical flow of the movie like everyone else, and it’s routinely a distraction that takes away from the character, which is a pretty big deal, considering he’s the male lead. You register it as soon as it comes into the movie (which is followed by a breathtaking opening sequence), and it doesn’t go away.
Casting aside the Achilles heel, film musicals are a triumph that only a legend like Steven Spielberg can pull off, and it’s another impressive addition to his iconic legacy. The final answer to the question “why would Spielberg be remade” story of the west?” is “Because he can,” and watching the movie you can’t help but respect him.
