West Side Story Poster

West Side Story (1961)

Crime | Musical 
Rayting:   7.6/10 97.7K votes
Country: USA
Language: English | Spanish
Release date: 29 March 1962

Two youngsters from rival New York City gangs fall in love, but tensions between their respective friends build toward tragedy.

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User Reviews

zimmedc 29 December 2004

As a now 50-year old, I first saw 'West Side Story' when I was about 7. It may have been the first movie I ever saw outside home (actually at a drive-in--remember those?), and it's certainly the most memorable of movies I saw during that time of my life (although 'The Wizard of Oz' and 'The Music Man' are right up there too). In fact, as I watch the DVD now, I'm reminded why when asked, I typically cite it as my favorite movie of all time. The story is hundreds of years old, and now with the onset of drive-by shootings, the threat to the community presented by the Jets and Sharks seems a little dated, but then there's the amazing Bernstein score, and the fabulous Robbins' choreography, heartbreaking songs by Sondheim like "One Hand, One Heart" and "I Have a Love," innovative camera work by director Robert Wise, and unforgettable performances by the luminous Natalie Wood and the phenomenal Rita Moreno.

I'm not old enough to have seen the original Broadway play, but I saw a recent revival, and the movie even improves on the play by moving a couple of musical numbers around so they fit better with the plot. Great movie musicals are few and far between these days ('Chicago' sold well--I couldn't quite deal with Richard Gere as a song and dance man); I wish there was another 'West Side Story' in store to entertain me for the next 50 years of my life.

malcotoro 18 October 2007

Fmovies: I enjoyed Natalie Wood of course, talented stunningly attractive actress. Richard Beymer too... However, of all the reviews I have read here, hardly a one makes mention of the composer of the music in the film, Leonard Bernstein's music... The melodies are beautiful and romantic beyond compare. Bernstein was a genius, a great composer and conductor of orchestras... Stephen Sondheim had penned the lyrics, but the music came from Bernstein. Well known in the world of classical music, as a conductor he had championed a number of classical musicians, and he was a powerful prominent force on the International and New York orchestral music scene. A man of supreme importance in the field of classical music interpretation. I guess we could say that in the world of "popular music" he will be best remembered for his work here in West Side Story... This music is lovingly crafted by Leonard Bernstein, the master... Comment from Malcolm in Toronto 18th October 2007

Kirpianuscus 4 January 2018

It is strange to say why. because it is the musical "par excellence". many of its songs are well known by young public before they see the film. because each character has its perfect actor. because it is one of the most inspired adaptations of "Romeo and Juliet". because it is...magic. and one of motifs to admire scene by scene this film about the essence of youth, love and life. a film absolutely special. whithout know why. without define the motif for who, after its end, you desire see again. maybe, for the most inspired Mercutio of Russ Tamblyn., for lovely Maria of Natalie Wood ( and Marni Nixon), for Richard Beymer and, off course, George Chalkiris. so, special. and could be enough .

Doylenf 11 January 2004

West Side Story fmovies. Viewing WEST SIDE STORY last night on TCM for the first time in years, I realized what an impact this made on film musicals with its innovative use of dazzling choreography and high-flying camera-work that made it a cinematic experience rather than a stage-bound one.

Robert Wise and Jerome Robbins directed this poignant and powerful musical with a talented cast of performers--Natalie Wood at her dewy-eyed loveliest as the Juliet-like heroine and Richard Beymer doing his best to bring some heart-felt passion to the role of the Romeo-like Tony, but he's too refined to be believable as an ex-gang member. At least he does have some chemistry with Natalie and obviously put his heart and soul into his performing. The voice dubbing for both is done skillfully, but I would have preferred a stronger voice for Beymer.

Rita Moreno (not Chita Rivera as another commentator named her) and George Chakiris are beyond reproach as Anita and Bernardo--and all of the gang members do superb footwork and acting as the Jets/Sharks. Most impressive is the actor playing Ice (Tucker Smith) who figures prominently in the finger-snapping "Cool" number.

This is the quintessential 1960s musical with some expert choreography (the rooftop version of "America" is a standout) and stellar work from everyone in the cast. Leonard Bernstein must have been proud of this film version of his Broadway musical. Robert Wise's firm control in blending the music with the "book" is craftsmanship at its finest.

By all means, a musical that deserved all of its Oscars!!

Steffi_P 28 December 2009

The classic Hollywood musical, though popular with public and critics in its day, now seems to have more detractors than admirers. The screen version of West Side Story has found itself under attack from both sides, not only from "serious" film fans who consider all musicals to be frivolous and unrealistic, but also snobbish appreciators of the stage original like Keith Garebian, who described it as a "Hollywood vulgarisation"*.

It's fair enough that West Side Story is something of a sacred cow for Broadway fans. Leonard Bernstein, although not as prolific as Gerschwin, Berlin, Kern, Rodgers or Loewe, placed himself on a par with these giants of musical theatre with this one score, a mix of edgy jazz and heart-wrenching melody. The Arthur Laurents story has enough bold changes to make the Romeo and Juliet tale work for the modern era, while still retaining the forceful core and emotional impact of Shakespeare's play. Then there is the choreography of Jerome Robbins, turning aggressive tension into dance moves, with complex layers and patterns that seem almost contradictory but work harmoniously. But what is really special is how all these things weave into each other. Bernstein's score references and repeats itself; for example the oft-heard whistle, the opening line of "Ma-ri-a" and the start of the baseline for "Cool" are all the same three notes. The choreography picks up on every subtlety of the music, and blurs the lines between dancing and fighting. Even the dialogue has a kind of snappy rhythm to it, allowing the talkie scenes to flow straight into the musical numbers.

Walter Mirisch, who acquired the filming rights, knew what he was doing when he handed the project to two directors, Jerome Robbins and Robert Wise. Robbins had directed it for the stage, and there was really no-one better to ensure his own choreography survived intact for the screen version. However with no experience behind a camera, it was unlikely he could have tackled the whole thing single-handed. Robert Wise was the perfect partner for him, a highly professional and dedicated screen director, who had never done a musical before but had proved himself sensitive to rhythm and movement in pictures such as This Could Be the Night and I Want to Live!. Between them, Wise and Robbins have reproduced the synchronicity of the stage show, as well as extending it in a cinematic dimension.

In the location-shot "Prologue", the camera becomes a part of the choreography, beginning with those jerky pans in time with the Jets' finger-clicking. This I believe was largely the input of Robbins, who was apparently fascinated by what cinema could do. He does some great work with colour, such us the red background that suddenly comes into view in that first close up of George Chakiris (Bernardo). As well as the dramatic scenes, I understand Wise was solely responsible for directing the less dance-orientated numbers such "Something's Coming", "Maria" and "Tonight". His approach is subtler, but he still cleverly merges image and music, keeping the camera close for the quieter moments, then pulling back as the song becomes bigger, allowing the backgrounds to become part of the tone. Wise also holds up the musicality elsewhere. One trick this former editor uses is to ensure that at key moments consecutive shots are jarringly different in colour and arrangement, which keeps that jagged rhythm going in image as well as sound.

One major source of contr

sophieahmed-94632 6 February 2017

There is certainly tough competition when trying to decide the best musical of all time but I believe West Side Story is the clear winner. The acting is first rate and the locations gritty and realistic so you get the feel of what it is like to be a poor immigrant in New York. Natalie Wood and Rita Moreno are outstanding as the beautiful innocent Maria and the alluring more worldly wise Anita. Above all, Bernstein's music is breathtaking and unique, sweeping from gangster slang through lively Hispanic dances to luminous love songs. Unlike many musicals, it always feels real and grounded which makes the tragic ending all the more moving.

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