The Cast


Natalie Wood ... Maria
Richard Beymer ... Tony
Russ Tamblyn ... Riff
Rita Moreno ... Anita
George Chakiris ... Bernardo
Simon Oakland ... Lieutenant Schrank
Ned Glass... Doc
William Bramley... Officer Krupke
Tucker Smith ... Ice
Tony Mordente .... Action
David Winters .... A-Rab
Eliot Feld .... Baby John
Bert Michaels .... Snowboy
David Bean .... Tiger
Robert Banas .... Joyboy
Anthony 'Scooter' Teague .... Big Deal
Harvey Hohnecker .... Mouthpiece
Tommy Abbott .... Gee-Tar
Susan Oakes .... Anybodys
Gina Trikonis .... Graziella
Carole D'Andrea .... Velma
Jose De Vega .... Chino
Jay Norman .... Pepe
Gus Trikonis .... Indio
Eddie Verso .... Juano
Jaime Rogers .... Loco
Larry Roquemore .... Rocco
Robert Thompson .... Luis
Nick Covacevich .... Toro
Rudy Del Campo .... Del Campo
Andre Tayir .... Chile
Yvonne Othon .... Consuelo
Suzie Kaye .... Rosalia
Joanne Miya .... Francisca
John Astin .... Glad Hand

Jim Bryant .... Tony's singing voice
Marni Nixon .... Maria's singing voice
Betty Wand .... Anita's singing voice

Tucker Smith ... Riff (at times)


The Crew

 

Directed by
Jerome Robbins
Robert Wise

Writing credits
Jerome Robbins
and
Arthur Laurents

Ernest Lehman

William Shakespeare

(uncredited)

Produced by
Saul Chaplin
(associate)
Walter Mirisch
(executive)
(uncredited)
Robert Wise

Original music by
Leonard Bernstein

Lyrics by
Stephen Sondheim

Cinematography by
Daniel L. Fapp

Film Editing by
Thomas Stanford

Casting
Lynn Stalmaster

(uncredited)

Production Design by
Boris Leven

Set Decoration
Victor Gangelin

Costume Design by
Irene Sharaff

Makeup Department
Emile LaVigne .... makeup artist
Alice Monte .... hair stylist


Saul Bass .... visual consultant
title designer

Richard Carruth .... music editor
Saul Chaplin .... music supervisor

Johnny Green .... conductor
music supervisor

Irwin Kostal .... music supervisor
orchestrator

Jerome Robbins .... choreographer

The Songs

 

Prologue

 
One of the greatest Overtures from one of the greatest scores from one of the greatest movie musicals from one of the greatest American composers leads into the Prologue.  It smartly establishes the underlying conflict of the entire story - the hatred between two rival street gangs, the "Sharks" and the "Jets". Additionally, it accomplishes an even more difficult task. It establishes gymnastic dance and ballet as a metaphor for violent street fighting.

Unfortunately, many younger viewers complain about this technique. With our society used to the violence seen on the nightly news, this choreography is hard for them to take seriously. Especially for first time viewers.  Even tougher to swallow is the attitudes and appearance of the "Jets".  Viewed today they resemble the school geeks who were always getting thrown against the lockers ... and their aggressive shouts of "Pow" and "Daddy-O" make Michael Jackson's "Bad" performance a real threat. 

All that aside, the production values are great. Most of the film was done on a soundstage, and the magic in there is a real testament to the artistry involved. Directors Wise and Robbins used the camera to great effect and used editing as part of the choreography.  As the two gangs prowl (or plié) around their 'territory', we are treated to fun fight situations with the gang names on the wall finishing off the visual composition.

Prologue

 

 

 

Jet Song

 
Tagged onto the end of the Prologue, the "Jet Song" gives voice to one gang as it prepares for a rumble.  Once again, the percussive editing gives the viewer something new in musical movies.  In one clever bit of direction/choreography a tottering Seesaw takes us from watching 3 jets to 10.  Throughout the film, the gang looks wimpy in contrast to the street reality and subsequently, it is hard to get fully immersed in the danger.
The Jet Song

 

 

 

Something's
Coming

 
Tony is left alone to sing a song of hope and confidence.  The musical syncopation serves to use the human voice as an instrument.   Beymer, who does a credible job even if his singing voice is dubbed, looks more like a "Shark" then a "Jet".  The Production design remains gorgeous. The editing transitions the story as sheets on a clothesline match-cut to material in a dress shop.
Something's Coming

 

 

Dance at
the Gym

 
Another match cut brings us to the jazzy dance at the gym.  Jerome Robbins choreography is high energy and youthful.  After a faulty game of partner swapping, another highly gymnastic number, "Mambo." Mid-dance, in what is now a major cliché, Maria and Tony spy each other from across the room.

 

 

Maria

 
In sharp contrast to what we have heard so far, Tony's song "Maria" is highly melodic and, although the lyric seem anchored and repetitive, extremely pure.  The visuals were at one time state of the art as the background changes and Tony remains constant.  The final shot of Tony surrounded by shadows creates a sacred effect.
Maria

 

 

 

America

 
Absolutely Brilliant.  Rita Moreno takes control of the screen for this wonderful number.  Stephen Sondheim's lyrics add a much needed touch of humor and humanity to the Puerto Ricans who have only been shown in war mode.   The choreography entertains while remaining smart.  The rooftop set is extremely serviceable.  This is a great song to use when introducing the show to somebody.
America

 

 

 

Tonight

 
What would a Romeo and Juliet story be without a balcony scene?  Err, how about a fire escape scene?.  This is Tony's dream girl and around her he is blinded from the real world. He begins to talk of their 'love' in idealistic terms.  Maria, frightened she will get caught by her parents just inside, attempts to keep him quiet... (momentarily, they'll both be singing at the top of their lungs... but that's theater)  The song is edited with a large number of shots, a feat considering the restricting size of the fire escape.  Many times, we see the listener's reaction as opposed to the singers mouth making the task of lip-synching slightly easier.
Tonight

 

 

 

Gee,
Officer Krupke

 
With little room for levity amongst the looming dangers, this is our final comedy number, Krupke is an opportunity for great comic performances and the film document is no exception.  Here, the Jets are witty and talented, something unique to this kind of gang warfare.  This song can get lost among the great music in the show, but its attitude makes it a highlight.
Gee, Officer Krupke

 

 

 

I Feel Pretty

 
Maria is in love and she shows it.  She sings this egocentric song and dances around the small dress shop using everything in sight to further her self-confidence.  This number, while cleverly 'staged' resembles previous movie musicals, lacking the crisp editing that has filled the first hour of the film.  

Oh, isn't Natalie Wood cute...

I Feel Pretty

 

 

One Hand,
One Heart

 
The couple display their love (and their youth) by playing 'dress up' and 'wedding.'  Their game seems to be more important than either one of them realize. Bernstein's music sets a solemn religious tone that is reinforced by the church-like lighting.

 

 

Tonight

 
An amazing musical feat, Tonight shows all of the characters on the verge of big conflict while still keeping each unique voice.  Each element was filmed separately and combined in editing.  In an effort to include all elements of the conflict, there is one awkward shot of Detective Schrank and Officer Krupke quietly awaiting the conflict.  This took me out of the moment (especially as I considered the possibility that they might join in the singing).  These adults don't quite work as a threat.  The gang visuals seem uninspired as both break the fourth wall. They sing directly to the viewer looking like WWF wrestlers dressed as geeks sending bodacious threats across the airwaves...
Tonight

 

 

 

Somewhere

 
Maria and Tony are at peace with the death of her brother but are sure nobody else in their lives will be so understanding.  This is a difficult concept to pull off but a necessary evil to the story.  The filmmakers were semi-successful.  On the night Tony kills her brother, Maria is seen snuggling with her schnookie-ookums.  She invests totally in her new loves side of the story.  But, the film doesn't build a clear need for her beliefs, especially as they embrace, resembling giddy teens who discovered first love at band camp.

 

 

Cool

 
Unique for the film only in syncopation and locale, the piece showcases some amazing choreography by Robbins.  In a great piece of creative production design, the gang supplies their own 'lighting' by using the headlights of the surrounding trucks. But, the gang breaks the fourth wall again which isn't totally acceptable. Their pitiful shouts of "Pow" make it an even tougher sell...
Cool

 

 

A Boy Like That

 
Bernstein's least 'enjoyable' melody line in the show comes at a time when a catchy melody line would be inappropriate. This song sharply serves as a wake-up call to our star-struck lovers.  But, their inexperienced love continues to guide their self-destruction.
A Boy Like That...

 

 

 

I Have a Love

 
This gorgeous song is Maria's final attempt at holding on to her dream relationship, which brings only destruction to everyone involved.  The drama is very great at this point so, the song is kept short.  In fact, this is the last new song in the entire film...

 

 

 

 

From Stage
to Screen

 

West Side Story initially seems to be a weak concept. Take Shakespeare's"The Tragedy of Romeo and Juliet" and displace it into New York gang warfare and have it told through song and dance. But, the resulting show is an uniquely American icon. The creative team included giants in their field: Jerome Robbins, Leonard Bernstein and Stephen Sondheim. The stage show was a resounding success. So, it was inevitable that it would take the journey from stage to screen.

Ernest Lehman adapted the screenplay with some minor changes that make cinematic sense. Robert Wise joined Robbins on directing chores. They worked with the original stage crew and the result is a very faithful adaptation. Some of Bernstein's musical passages had to be shortened while some were extended for the reworked film scenes. This is also where the film's greatest advantage comes into play. Not limited by a pit Orchestra's size, Bernstein's music was re orchestrated for a massive sound.

Some of the casting seems haphazard. 3 major roles would need their singing dubbed (Moreno, Wood and Beymer). And Beymer's Puerto Rican physicality made his "Jets" membership questionable. Maybe those casting questions are actually positives as the film was a resounding success (taking in 10 Academy Awards).

 

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Enhanced Soundtrack is Cool.
For fans of the classic 1957 film West Side Story, there is reason to rejoice. There is a new digitally remastered recording of the movies musical soundtrack including the Overture, Intermission, Finale and End credits! When composer Leonard Bernstein joined forces with book writer Arthur Laurents and lyricist Stephen
Sondheim, they set out to make as unique a musical as they could. Along the way, the also created something uniquely american. With the success of the stage show, the film was soon to follow. That in itself went on to win 11 Academy Awards. Now, the jazzy, sometimes discordant musical seems pretty standard as the songs have reached mass appeal. With the release of this Enhanced Soundtrack, you can listen to all the songs wonderfully remastered but it is the included "Previously unreleased tracks" that make this worth the immediate purchase. There's a place for this in your CD collection.
West Side Story 1997
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Dave Grusin Presents West Side Story
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West Side Story: A Novelization
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