User reviews

Although I think I've seen just about every musical there is from the forties to the seventies, I'd never seen West Side Story until last night. An amazing omission on my part, as having seen it, I just think it's simply wonderful.

I bought the DVD "on spec" in a CD/DVD exchange store in Sydney for $10. I've had it in my hand a couple of times before but have always put it back on the shelf. This time I went through with the purchase and am now wondering what could have come over me, not buying it before.

Those here who have said you really need to watch it on the Big Screen are absolutely right. In my case I watched it using a video projector throwing the image, big, bright and beautiful, onto a 12 foot screen. The photography used the wide screen format uncompromisingly. There was no caution here to frame the action for possible television cropping, or even much consideration given to a 2.35:1 "Cinemascope" presentation. Super Panavision's aspect ratio is not as wide as Cinemascope's 2.35:1, and every square inch of screen space was used for one or another important element of composition.

Bernstein's music is a tour de force. Having watched On The Town only a few days back, it was interesting to contrast the two musicals. On The town is, of course, 15 years or so older than West side Story, but a comparison between the two scores is chalk and cheese. You could tell that Bernstein was holding himself back in On The Town. It wasn't his project. The numbers were almost self-censored. But West side Story was his baby, and it shows.

The sheer brilliance of the music, the enchanting daring of it, its raucous atonality coupled with sweetness of melody are awesomely impressive, as show-stopper after show-stopper is thrown onto the screen to continually up the amazement quotient, time after time.

I played West Side Story loud, very loud. The surround sound knocked my socks off from the opening aerial ambiance of Manhattan streets to the orchestrations themselves. I remember Bernstein in the documentary about the concert version of West Side Story saying, aside to the camera, after "Cool, Boy" was recorded, "You know, this is pretty good..." One of the great understatements, even if coming from the music's creator.

See this film. Play it loud. Watch it on a big screen if you can. If you do you may, like I did, sit there thrilled, swinging your head from one side of the Super Panavision screen to the other, trying to take in the overwhelming avalanche coming at your eyes, your ears and your heart. It was an almost perfect transfer from film to DVD: color, sharpness, depth.

It's been a long while since I've watched a film with a silly grin on my face right through, sometimes gasping at the sheer knock-out brilliance of what film-making can be at its best. West Side Story was one of those times.

"Hold my hand and we're half-way there... Hold my hand and I'll take you there...."

Even though I'm not a big fan of this particular genre of film. I found West Side Story to be so impressively produced that it somehow transcended far beyond being just a mere "Musical" in the strictest sense of the word.

West Side Story is literally bursting at the seams and filled to capacity with vivid imagery. This highly-energized film clearly captures the vibrant atmosphere of the late 1950s, where rival youth gangs get their prejudiced, little noses out of joint and prepare to rumble in the streets of NYC.

With its memorable music and songs, dazzling choreography, striking sets and superb direction by Robert Wise, West Side Story is truly a triumph on every level.

This film is a magnificent achievement that (back in 1961) set a whole new standard for modern-day movie Musicals.

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.

This masterpiece is already 56 years old and as it happens with masterpieces, it has kept intact all of its energy all of its power and it remains a mind blowing novelty. "Singin'n'the Rain" has those qualities but the setting is a natural for the infections musical numbers. In "West Side Story" we visit Romeo And Juliet in New York among feuding street gangs. Robert Wise and Jerome Robbins create an experience for the ages. Natalie Wood is devastatingly gorgeous and even if the singing voice is not hers she manages to make it hers. The blandness of Richard Beymer works wonders for his Tony and Russ Tamblyn is a dynamo of youthful exuberance. But perhaps, Rita Moreno and George Chakiris steal the limelight. They are spectacular - As Oscar time they won Oscars over Judy Garland and Montgomery Clift in "Judgement At Nuremberg" To conclude let me reiterate "West Side Story" is a film to visit and revisit.

WEST SIDE STORY changed my life. I first saw this movie when I was about 13 years old. It was the first musical I ever saw, and it opened up my eyes to the joys of musicals and the classic films of Hollywood.

The romance is heartbreaking and the Leonard Bernstein-Stephen Sondheim score is one of the best ever written. Jerome Robbins' choreography is also amazing. The film itself is visually stunning.

One of my faves!!

When they say they don't make movies like they used to, this is the sort of film they are talking about. Despite its flaws (and there are some), it is easily one of the best musicals ever made. Beginning with the overture and the opening scenes of New York City, circa 1960, it almost screams "classic." Some have criticized Natalie Wood's Maria (her dubious accent and the dubbed-in singing) or Richard Beymer's Tony (his slightly smarmy interpretation of the ex gang member gone straight), but the fact remains, their wholesome, fresh-faced characterizations defined the roles. And you simply can't top the film's instrumental score, its great songs ("Maria," "Tonight," "America," "I Feel Pretty," "A Place For Us," "I Have a Love," and "Officer Krupke"), its excellent choreography, or its very effective cinematography. Rita Moreno, as Anita, delivers what was probably her best performance in the movies, in particular her dancing and singing in "America," while Russ Tamblyn, as Rif, the charismatic leader of the Jets, is seldom given the credit he deserved. Natalie Wood on the rooftop, anticipating another meeting with her newfound love, is a vision of grace and innocence, while George Chakiris as her brother Bernardo, the leader of the Sharks, is very convincing as the persecuted immigrant/mean-spirited hoodlum. And its not as if these are the only actors who did a great job. A number of the other supporting roles are delivered with memorable professionalism, too. In fact, the cast as a whole is superb.

This movie poignantly (if simplistically) explores the purity of first love, while tackling intolerance and racism head-on, avoiding the tired, politically correct clichés that movies of today too often wallow in. Despite the simplicity of the story, it is always an emotional experience, no matter how many times you've seen it. While it is true that the Academy Awards have become very politicized, and no doubt always were to a degree, this movie snagged ten of them when great movies were being turned out almost as often as mindless pap is today. Not to be missed.

This movie summarizes everything that was great and everything that was rotten with mainstream white society in the 50s and early 60s.

Sure, the music is great in WSS. There is dancing and singing. Romance and action. Drama and tragedy. This is a movie about the American dream, about immigration, discrimination and the issues that foreigners faced. There is a sort of unbridled and innocent passion with which this movie celebrates American culture. West Side Story (1961): Classic, perhaps. But timeless?

Looking under the glitz and Hollywood glamour, behind the curtain, you start to notice how artificial and contrived this production was. You notice that out of the dozen or so Puerto Ricans characters, perhaps 2 or 3 were actually played by Latinos. The rest were just white actors with silly putty on their face using bad accents. I noticed other peculiar flaws. As talented as Natalie Wood and Richard Beymer may have been, why did they need voice doubles during the singing? Of course, half of these high school students are played by mid to late 20-something actors, but oh well, that's to be expected even today.

In the end, the film just comes off as plastic and white-washed to me. This was a movie about white Americans and Latino Americans, but it was made by white Americans for white Americans. This was a movie that sheltered, middle-class Americans could watch to make themselves feel 'multicultural' in the 60s.

WSS is sweet, pure, innocent and enjoyable, but also synthetic and naive.

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

Natalie Wood is awful. Not just awful, but so relentlessly and completely awful she almost single-handedly ruins the picture. It had other problems, but her outrageous miscasting, her laughable attempts at a Puerto Rican "accent", her complete lack of chemistry with her supposed love interest, Richard Beymer, the fact that she was neither a singer nor a dancer but was given a part that required a lot of singing and dancing--neither of which she pulled off--were among the film's downsides. Richard Beymer's performance, however, is not nearly as bad as it's been made out to be. He plays Tony a bit more naive and somewhat goofier, maybe, than he should have, but compared to the acting jobs turned in by most of the other Jet "gang members", it wasn't bad at all. Much of the non-musical dialogue is insipid and painfully outdated even by 1961 standards, and other than Tony Mordente, the members of the Jets gang looked like exactly what they were--Broadway chorus boys. I realize this film isn't a documentary, and it was more important for the actors to be able to sing and dance than it was for them to actually *look* the parts they were playing--the Puerto Rican Sharks were a bit more authentic-looking, which was odd because the two main actors in that gang, George Chakiris (Bernardo) and Gus Trikonis (Indio), weren't Puerto Rican but Greek--but to tell the truth, the Jets were the sissiest looking and acting "gangbangers" I've ever seen. On the other hand, the supporting cast is actually pretty good--Simon Oakland as the gruff and racist Lt. Schrank, Ned Glass as Doc the candy store owner, John Astin as the doofus rec center director--but the "gangsters" themselves are just not very good actors. There are also several numbers where the songs aren't even remotely up to the level of the dancing that accompanies them ("Cool" comes to mind).

That being said, there are several upsides to the film. The dancing is spectacular--especially in the terrific "America" number, which just explodes off the screen at you--and the "Dear Kindly Sergeant Krupke" routine is still hilarious, even if a bit forced. The film's main advantage, however, is Rita Moreno. She is absolutely volcanic and blows everyone off the screen whenever she's on it, whether she's dancing, singing or acting (her scene in the candy store where the Jets rough her up is especially chilling, and it's all entirely due to her). I think Rita was the first real glimpse Middle America got of how smart, funny, sultry and sexy a Latina actress could be--up until then Latinas were mostly caricatures such as Lupe Velez and Carmen Miranda--and in the numbers she was in, especially the "America" routine, you just couldn't keep your eyes off her. You could really feel the pain and anger in her voice when she sang the "Stick To Your Own Kind" number. She won the Oscar for this role, and few actresses deserved it more.

All things considered, it's still a pretty good movie, although frankly much of it is quite dated and doesn't hold up particularly well. But the spectacular dancing, the infectious and beautiful music (especially "Maria") and the Romeo-and-Juliet story still work. Natalie Wood, who didn't belong in this movie at all, doesn't quite manage to sink it entirely, even though she comes close on occasion ("There's a Place for Us" comes across as a bad parody of the old Jeanette McDonald/Nelson Eddy movies where they sing into each other's faces and is hysterical in its awfulness). If you haven't seen it, it's definitely worth a look.

This is probably the best musical ever made. It is fantastic!!! It is loosely based on Romeo and Juliet, but it means that west Side Story had an inspiration, and it is told movingly and powerfully. Right from minute one I knew we were going to be in for a treat. The prologue was brilliantly staged, as was the rumble, which I found a bit disturbing to be honest! Quintet was thrilling also. Richard Beymer and Natalie Wood are wonderful as the two lovers, Wood is very heartfelt and Marni Nixon's singing for her is the very definition of angelic, as is Russ Tamblyn as a very energetic Riff. George Chakiris is also good as Bernado, though I would have given the Best Supporting Actor Oscar to Tamblyn, but it is Rita Moreno as fiery Anita who impressed most, easily one of the best supporting turns of any musical. The songs are fantastic, one of those musicals where every song works, some are funny; "America"(amazing choreography) and "Officer Krupkee" and some heart rending ones; "Tonight" "One Hand One Heart" and "Somewhere". The choreography was enough to have you on the edge of your seat. Everything is right about this movie, and I am shocked it isn't in the top 250, because it should be for it is one of the greatest film musicals! 10/10 without question! Bethany Cox

Musical about two youngsters from rival New York City gangs who fall in love.

I understand this film won 10 Oscars, and I understand why. It truly deserved them. The opening dance scene ranks as one of the greatest scenes in move history and the choreography is almost unbelievable. Not to mention the film stars one of my favorite people, Russ Tamblyn (who I know from "Twin Peaks" but you might know as Gideon from "Seven Brides For Seven Brothers").

I do feel the film does not hold up well today, though. It runs long, drags a lot, and many of the songs could be cut short or cut completely, adding nothing to character development or the plot. And the biggest mistake was casting Natalie Wood. I understand she added a known name to the picture, but she did not do her own singing, barely danced, and is obviously not Puerto Rican. I simply cannot understand who decided that the film would benefit from her inclusion.

A real mixed bag. The drama is forced and unmoving, and the humor is feeble. Lovely Natalie Wood overdoes the Latino bit as Maria, and she and Richard Beymer as Tony lack chemistry, thus the central romance has no urgency and their scenes together bring the movie to a halt. George Chakiris and Rita Moreno, in Oscar winning roles, along with Russ Tamblyn as Riff standout from the generally lackluster supporting cast of characters. Ned Glass is downright annoying as Doc and The Jets are the Dead End Kids recycled. It hoits! It hoits! Though a multi-Oscar winner, WSS is overlong and over-rated. On the plus side, the film has an excellent score, Jerome Robbins' amazing choreography, and first-rate on-location photography. The parts are better than the whole. So watch the film for the terrific musical numbers and fast forward through the rest.

It is a testament to the musical and theatrical brilliance of "West Side Story" that this teenage urban love story, set to Shakespeare's classic "Romeo and Juliet," has survived its outmoded 50s-style book (Arthur Laurents) replete with "Dead End Kids" posturings and corny, streetwise lingo (I still cringe when I hear the word "daddio"). For nowhere will you experience such electrifying, jaw-dropping choreography (Jerome Robbins). Nowhere will you thrill to a more exhilarating, passionate, full-throttled score (Leonard Bernstein, with Stephen Sondheim providing the libretto). And nowhere will you find a more dynamic, better-crafted musical that arguably surpasses its Broadway stage predecessor from overture to finale.

Maria, a lovely, innocent Puerto-Rican girl ("Juliet") and sister of a formidable gang leader, falls for an opposing though reluctant white-skinned gang member Tony ("Romeo") with tragic results. Set in a tough New York neighborhood where the two disparate groups, the Jets ("the Montagues") and Sharks ("the Capulets"), battle for street territory armed with knives, zip guns and rocks, the determined love affair sets off a calamitous chain of events that, in the end, manage to instill hope in diversity. Topical enough?

The strength of "West Side Story" is that it does not try to hide its stage roots. It still unfolds like a musical play. The film is expanded but the talented cast is not dwarfed by on-location surroundings or panoramic camera work ("South Pacific" fell victim to this). On the contrary, the cast lights up every single playing space with sure-footed aliveness and plenty of 'tude. Co-directors Robert Wise and Jerome Robbins stay true to the original, having the sense not to alter or butcher the score ("Man of La Mancha") or haul in a slew of new, untried songs ("On the Town", which actually worked for that musical). In a particularly "Wise" move (sorry), two numbers were repositioned to enhance or intensify the narrative flow. In the film version, the "Officer Krupke" number sparked by a goofy Three Stooges-like levity, is moved earlier into the proceedings BEFORE the serious rumbles start, serving neatly as a light and humorous anti-establishment statement. The tightly-coiled, finger-snapping "Cool" number is pushed way back, giving both song and situation a heightened impact as it goads and ignites the Jet's feelings of pent-up rage and retaliation AFTER their leader is murdered. Smart move, daddio.

The late Natalie Wood has been crucified by critics for her ethnic portrayal of Maria ever since day one. It was not because of any political incorrectness at the time (reigning Hollywood white glamour queen goes Latino) for that hot issue didn't erupt until decades later. It was her limited range as an actress. But over the years, I have grown accustomed to Wood. Yes, despite the melodramatic leanings, the necessity of vocal dubbing (by the incomparable Marni Nixon), the flawed Puerto-Rican accent and the general overuse of Coppertone, I still feel for this Maria. What Wood does offer is utmost sincerity and heartfelt poignancy. So I'm one person who has gotten off the Natalie Wood-bashing wagon. Richard Beymer is another matter. An extremely weak, uncool choice for Tony, his toothy, freshly-scrubbed, chipmunk-like mug and awkward gait reads more like library assistant than gang member. Who would have thought Beymer would be the one to dazzle us much later in the totally cool and offbeat "Twin Peaks"? Still, Wood and Beymer commit themselves 100% and manage to create a credible, if not charismatic, love duet that doesn't get in harm's way.

Since the film's emphasis is really on dance, it's the flashy second leads who provide the real firepower. Rita Moreno's smouldering Anita ("The Nurse") is a spitfire of anger and attitude, while George Chakiris as her Shark leader boyfriend Bernardo ("Tybalt") demonstrates slick, controlled menace. Both Oscar-awarded here, Chakiris, in his debut, proved a lightweight acting talent himself, never finding a role like this again. Russ Tamblyn as Riff ("Mercutio"), the recently inaugurated leader of the Jets, is a hotbed of jaunty, scrappy impatience. Both he and Chakiris are riveting as they demonstrate poetry in motion, leading a pack of Edward Villela-like tough guys into athletic, gravity-defying dance moves.

"Romeo and Juliet vs. the 'Hood" should be required viewing for all grade-school children solely on the basis of art and education. The adults already know the value of this treasure.

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.

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!!

This is the modern day Romeo and Juliet tale of two lovers who try to overcome the rivalries between the gangs they are from. The are also themes of the gang hostilities themselves, the relationships between other central characters such as the gang leaders and the sentiments of socially disadvantaged youth trying to find their own way in the world. This is all brought to life with the help of some original and memorable songs, including 'Tonight', 'America' and 'I Feel Pretty', to name but a few.

I absolutely adore the stage version of this musical, so I was eager to watch the film. Obviously it stayed reasonably true to the script, although it was disorientating to hear a few of the songs sung in completely different parts of the film. The other problem is that it has not aged well. Many of the colours (both set and costume) just look garish today. Additionally, some of the acting seems a little overcooked, especially from Tony, the male lead.

Having said that, the overall messages of the story, as well as the fantastic songs, do provide for enjoyable viewing and it is incredibly moving. However, (and I really am not being snobby!) I would recommend a trip to a theatre to watch it on stage if you want to get the full impact of this musical.

It's hard for me to write a review about West Side Story because all the superlatives have been written and said over and over again. What I think the main contribution of West Side Story to our culture is to interest urban American youth of the Fifties in both the classics and the American Musical Theater. A typical boy or girl going to Andries Hudde Junior High School and Midwood High School from 1959 to 1965 as I did was acquainted with the music and lyrics of West Side Story from radio, records, and television and if you saved up for a Broadway seat.

You might not have gotten Oklahoma, you might have thought Carousel was quaint and you sure thought South Pacific was for your parent's generation, but West Side Story spoke to you. It was about young people just trying to belong, if you will looking for a place, in time and space for us.

And wonder of wonders not only could the American Musical Theater speak to you, but when your English teacher told you about the guy who wrote the story that this was based on, well maybe that guy who writes in incomprehensible English, that William Shakespeare guy, maybe he had some other relevant things to say. West Side Story promoted literacy and taste for a generation and you can't get a higher accolade than that.

It's a difficult production also because it involves skill in acting, in dance, and you've got to have a great singing voice to deal with Leonard Bernstein's music and Stephen Sondheim's lyrics. They got a really great cast together on Broadway with Larry Kert, Carol Lawrence, Chita Rivera, and the rest. They all sang and danced and acted these Shakespearean based roles beautifully. Unfortunately there wasn't a movie name in the lot.

Acting and dancing can't be faked on the silver screen, but singing can be dubbed as it was for leads Richard Beymer and Natalie Wood. A lot of Rita Moreno's songs were dubbed as well though that America number is all Rita. She'd actually done musicals before, The King and I and The Vagabond King remake are two of them. The voices of Jimmy Bryant and Marni Nixon fit them perfectly.

West Side Story is pretty, witty, and bright and the witty part comes from two ensemble numbers Officer Krupke done by the Jets and America done by the Pyerto Rican Sharks. Listen very closely to the entertaining social commentary made by Stephen Sondheim. These numbers together with the accompanying Jerome Robbins choreography are some of the best examples of all the components of a successful musical working together.

The ballads like Tonight, I Feel Pretty, A Place For Us, require almost opera like voices to sing them. I'd get either the Broadway cast album or the cast album for this film as a must for a recording collection. I happen to have a bootleg recording of Judy Garland and Vic Damone doing a selection from Garland's TV show. It is beautiful and priceless.

One other thing about West Side Story that is endearing for me. Pay close attention to the role of Anybody's. It may be the first time that a transgender individual was portrayed in a major motion picture, let alone one that was the Best Picture of 1961. IMDb gives very little in the way of information about Susan Oakes the actress who played Anybody's. But her performance is nothing less than a harbinger of what Hilary Swank did as Brandon Teena in Boys Don't Cry.

Like the kids from Romeo and Juliet and 16th century Verona, Italy, West Side Story is about young people just trying to find a place in time and space, finding a new way of living away from the dumb prejudices of their elders. They almost break free too.

West Side Story won 10 Academy Awards including a joint Best Director Oscar for Jerome Robbins and Robert Wise, Best Supporting Actor and Supporting Actress for George Chakiris and Rita Moreno and a flock of technical awards. It set a standard for stage and screen to be both entertaining and contemporary.

And it's so pretty, witty, and bright.

Audiences flocked to see this handsome screen-adaptation of the popular Broadway musical show about juvenile delinquents in New York City, battling each other for prominence on Manhattan's West Side. So many different, top-rank talents were involved in this production that it's really no surprise the end result seems awfully heavy, weighed down by unnecessary self-importance and a creaky "Romeo and Juliet"-styled plot that was a wheeze even in 1961. Two teenagers from disparate sides fall in love, but Natalie Wood is entirely inappropriate as a barrios Cinderella (she's encumbered by the heavy pancake make-up, the plastic conviction laid upon her character and the drowsy overdubbing/lip-syncing process on the musical numbers). The thin premise is belittled further by the presentation, so big and "new" and "bold" that it forgets to have a personal connection (between the characters on-screen and the audience). Still, it won 10 Academy Awards, including Best Picture, Best Director (the overrated Robert Wise), Best Supporting Actor (the inert George Chakiris), Best Supporting Actress (Rita Moreno, who shows real spirit), and Best Cinematography (courtesy Daniel Fapp, and deservedly so, for his opening shots are still being copied). ** from ****

Note the opening credits. I use the term "credits" loosely, because there aren't any. There's just a reddish orangish title card which changes colour ever so slowly while they play the overture. Now THAT takes courage. Obviously Wise was certain that Bernstein's music provides so much interest on its own that it would have been redundant to do anything but play it. And he was right. Bernstein simply wrote better music than any other Broadway composer of his day - much better music - and whether or not "West Side Story" contains his very best music, it's his very best musical. It would take a special effort to make a bad movie out of it.

In fact Wise handles things very well. We get the same silent sweep over New York that he later gave us over Austria in "The Sound of Music" - the sweep that says, "I'm going to show you New York" (or Austria, as the case may be). The filming and the colours are stark and intentionally artificial: it does feel as if we are being shown a city. Performances are all fine.

Of course, most of what makes this film great was already present in the musical. But what's wrong with that? Surely Wise shouldn't HAVE to spin straw into gold. A wise man - sorry - just accepts it with good grace when he is handed gold to begin with.

West Side Story- so much history and prestige comes with that name. As someone who loves musicals of all kinds, but had never seen this one (born way after release), I had some nervousness watching it. Does it live up to it's praise? Mostly...

Everyone knows the story: Two rival gangs the Jets (American) and the Sharks (Puerto Rican) battle it out over control of a small West Side of Manhattan. In the midst of this war, though, Tony(Richard Beymer) and Maria(Natalie Woods), two teens from opposite sides, fall in love. Can their love survive the war that is killing all else in it's path? I guess you'll just have to watch and find out.

The music is wonderful and the choreography is gorgeous. The singing left some to be desired, particularly Richard Beymer's vocals. Natalie Woods had her vocals recorded over, and they are decent. The best vocals come from Rita Moreno. Most of what's best about this movie comes from her.

Ms. Moreno won an Oscar for her performance as Anita, and it was well deserved. She completely steals the show and I only wish we could have seen more of her. Her performance is probably one of the most powerful I've seen. She has more than one scene that I will not soon forget. Her performance alone would make the show worth watching, but George Chikalis is equally strong as her brother, Bernardo. The two leads, Beymer and Woods, are fine, but nothing too special. Natalie Woods deserves some respect for her final scene. It is quite passionate.

West Side Story is certainly not the best musical ever made- not even close, in my opinion. It is, however, a classic that will live on most likely forever for it's tragic story and wonderful music. Not to mention Rita Moreno- don't get me started again! 7/10 stars...

Jay Addison

Exceptional musical about the gangs--the Jets (Americans) and Sharks (Puerto Ricans) battling it out for a small section in the west side on NYC. Tony from the Jets (Richard Beymer) falls in love with Puerto Rican Maria (Natalie Wood) whose brother Bernardo (George Chakiris) belongs to the Sharks. Can their love survive? You probably know the answer but I won't give it away.

An incredible musical--the songs have become legendary and the dance numbers are easily the most energetic and incredible ones ever caught on film. It was (partially) shot on location in NYC which helps and is full of color and life.

Unfortunately there are problems here: Natalie Wood hated Richard Beymer--and it comes through loud and clear. There's a unbelievable lack of sexual chemistry between them and Wood gives a rare bad performance. Beymer is tall, handsome, muscular--and a total blank as Tony. The poor guy is trying but Wood's attitude obviously bothered him. Still everything else about the movie is great. I have a few minor quibbles: How did Tony know where Maria's apartment was?; "I Feel Pretty" is actually hilarious--check out Wood's "dancing"; the "Cool" number is great to look at but brings the movie to a screeching halt.

But everything else works. Chakiris and Rita Moreno are just fantastic as Bernardo and Anita--their dancing and acting is just perfect--they richly deserved those Academy Awards they won. Russ Tamblyn is also very good as Riff (leader of the Jets) and shows some incredible dance moves. And look for John Astin in a hilarious bit at the dance.

All the dances and numbers are good and the lip syncing is pulled off by Beymer and Wood pretty well. But the show stopper is "America"--that number comes right out of the screen at you full force. The lyrics are sanitized from the Broadway show but who cares? It still works.

This won 10 Academy Awards--including Best Picture and Best Director(s). A true classic musical. I've seen it tons of times and I never get tired of it. A must-see. I give it a 10 all the way.

The major problem with this picture is the painful lack of chemistry between the two leads, Natalie Wood and Richard Beymer. Wood was very young (23) and just not accomplished enough as an actress to hide her anathema toward Beymer. She wanted her lover at that time, Warren Beatty, in the lead and thought Beymer should be fired. I have to concede she was right. He is oddly graceless and clunky in this part. Kind of a dork. Certainly not believable as a gang member. I'm no fan of Warren Beatty, but the film would have been a lot more compelling if he'd played the lead. There was not an ounce of real passion between Tony and Maria. All their scenes together are duds, and that detracted terribly from the story.