While Russ Tamblin in the 1961 film may not have been the best choice, he acted the hell out of the part.

As well as the two вЂњstar-crossвЂ™dвЂќ lovers (who reminded me of Baz LuhrmannвЂ™s casting in his film: вЂ Romeo + JulietвЂ of Clair Danes and Leonardo DiCaprio), we have excellent choices for Anita, Bernardo, Kupki, Baby John, et alвЂ¦ with two notable exceptions: Riff and AnybodyвЂ™s. I have to say, all the cast perform extremely well. And he also looks Polish which is a bonus. So too is Ansel Elgort as Tony who not only sounds the part, but has the same innocence as Zegler. Rachel Zegler looks and sings perfect, more so than Natalie Wood in 1961. For the most part, the actors fit their characters well, such as in the case of Maria (above). Speilberg has done an excellent job with his casting, with 2 exceptions. Not all these modifications are bad, and an exception in particular is the number: вЂњBe CoolвЂќ, about which IвЂ™ll address later. Sadly, this film is no exceptionвЂ¦ though not as bad as many in that it is more fitting with a story of this nature, it does still spoil the film, and takes the audience out of story. This medium has always contained political bias, as well as obvious political messaging, but over the past several years it has morphed into a вЂholier than thouвЂ™ message, which has resulted in a huge move away from Hollywood and TV. It is due to the obvious politicising of film and TV, which some call вЂwokismвЂ™. Hollywood has had a really big problem in recent years, and IвЂ™m not talking about the Covid lockdowns. And this forcing apart of film and viewer isnвЂ™t the only problemвЂ¦ the alterations to the story to вЂњimproveвЂќ it do anything but maintain the filmatic experience. But choosing to set the big numbers in the much larger realistic environment detracts from the songs and dances, and pulls the viewer right out of the film. Except they arenвЂ™t a flashmob, nor are they performing artistsвЂ¦ they are presented as вЂrealisticвЂ™ gang yobs itching to вЂњrumbleвЂќ who sing and dance in the neighbourhoods they terrorise.ДЄs in вЂFameвЂ™, the personal numbers in this film, when in context, including the excellent new version and choreography of вЂњBe CoolвЂќ, work really well and mostly manage the fine line between stylised choreography and realistic approach through direction choices. However, whereas in вЂFameвЂ™ it looked organic and natural: performing arts kids bursting into the cityвЂ™s mundane environment, вЂWest SideвЂ™ has 1960sвЂ™ gangs doing the same. These numbers bring to mind the classic scene in the вЂ™80s film: вЂ FameвЂ where the title song spills out into the real world outside the school. The opening scene, and вЂAmericaвЂ™, are prime examples of this clash. Gone are the stylised sets and set-pieces which now clash with the musical numbers and choreography. Spielberg chose to create his film in a realistic environment.

It doesnвЂ™t enliven the spirit and excitement within (which the songs and dances alone would do). It does not pull you into the world, and instead makes you an observer. I still enjoyed it, and it is still an excellent film, but it lacks something the original show and film do not. This is what I feel went wrong with the 2021 version. While I said that it isnвЂ™t possible to ruin this show, it is possible to mar it through intent. DonвЂ™t get me wrongвЂ¦ his direction, the colours, costumes, and especially the actors (save for Riff and AnybodyвЂ™s) are amazing but while this should have elevated this film above the original, it did not. His film takes the iconic musical and presents it in a more вЂrealisticвЂ™ manner. In 2021, Steven Spielberg released his directorial debut as musical director. I wonвЂ™t go into details about the story, suffice to say that it is based on ShakespeareвЂ™s play: вЂRomeo and JulietвЂ™, and set in modern times (1960ish), and follows the tragic love story of a young latina woman: Maria, and her вЂњstar-crossвЂ™dвЂќ lover: polish-american Tony, against the backdrop of american gang rivalries (of the time). вЂ West Side StoryвЂ was written by Authur Laurents, with music and lyrics by Leonard Bernstein and Stephen Sondheim, and premiered in 1957, followed up with an absolute classic film version in 1961. That doesnвЂ™t mean that it canвЂ™t be done poorly, say by some amateurish productions, but it would take some active and deliberate intent to spoil this show. It is one of the all-time great musicals. вЂWest Side StoryвЂ™ is too good to mess up: it has a great story, choreography, and songs.

Polymath artist