In addition to Best Picture, the film took Best Actor in a Supporting
Role (George Chakiris); Best Actress in a Supporting Role (Rita Moreno);
Best Art Direction-Set Decoration, Color (Boris Leven and Victor A.
Gangelin); Best Cinematography, Color (Daniel L. Fargo); Best Costume
Design, Color (Irene Sharaff); Best Director (Jerome Robbins and Richard
Beymer); Best Film Editing (Thomas Stanford); Best Music, Scoring of
a Motion Picture (Saul Chaplin, Johnny Green, Sid Ramin and Irwin Kostal);
and Best Sound (Fred Hynes and Gordon Sawyer).
This was the first time that two directors shared a Best Director Oscar,
and it wouldn't happen again until Joel and Ethan Coen shared the award
for No Country for Old Men (2007). The difference was that Joel
and Ethan Coen shared the directing chair throughout, while Jerome Robbins
directed four numbers (the prologue, "Cool," "I Feel
Pretty," and "America") before being removed from the
project. He was fired because his propensity for reshooting scenes in
a quest for perfection led to the movie going over budget and falling
behind schedule. Initially, Jerome Robbins, who was also the choreographer,
was supposed to direct the dance sequences and Robert Wise would direct
everything else, but he had to helm the remaining dance sequences, as
well.
Whereas Romeo and Juliet took place in medieval Italy, West
Side Story is set in 20th century New York City. Instead of rival
political families, the star-crossed lovers have associations with ethnic
gangs (the Jets and the Sharks), who are competing for dominance of
the streets. The film is based on a musical that played for two years
in New York, but the order of many of the songs, including some lyrics,
were changed for the film.
Those familiar with the Shakespeare play will recognize key scenes,
such as the balcony scene, where Romeo (in this version, Tony, played
by Richard Beymer) woos Juliet (Maria, played by Natalie Wood), sneaking
stolen moments despite the disapproval of their families and friends.
They will also note some significant differences, such as a different
twist on the ending (which I won't reveal here).
Whereas the tragic flaw of both Romeo and Juliet were primarily their
youthful naiveté and impetuosity, West Side Story focuses
on the tragic flaws, so to speak, of society. Songs like "America"
(video
here) address issues like racial equality, prejudice and immigration,
while "Gee, Officer Krupke" (video
here) examines the problem of youth crime and violence. Both songs
effectively use humor to make their case.
In a sense, society is an extra character in the movie, serving as
the driving force behind the action of all the characters, from Maria
and Tony to the rival gang members. In order to add to the on-set tension,
the filmmakers tried to keep the Jets and the Sharks separate, although
Russ Tamblyn, who played Riff, said he knew of at least one "Jet"
who was roommates with a "Shark" throughout filming.
The musical portions of West Side Story are masterfully done,
blending modern dance choreography with memorable songs to enrich the
telling of the tale. While Shakespeare's plays often center around powerful
soliloquies, West Side Story gains its emotional impact from
its musical numbers. Leonard Bernstein's music and Stephen Sondheim's
lyrics have become classics, with anthems like "Somewhere"
(video
here), "Maria" (video
here) now instantly recognizable. In fact, the bubbly "I Feel
Pretty" (video
here) served as a recurring joke in the Jack Nicholson/Adam Sandler
film, Anger Management.
It's not surprising that the film brought home so many Oscars. All
aspects of the production, from the colorful sets to the costumes, add
to the film's impact. Bright colors during optimistic moments contrast
with deep shadows in sadder moments. The color palettes of the rival
gangs show their allegiance: yellow and earth tones for the Italian-based
Jets, and reds and purples for the Puerto Rican Sharks. By contrast,
when the young lovers meet, at a community dance, Maria wears white,
a color that is both neutral and symbolic of her purity and innocence.
Natalie Wood is well cast as Maria, the sometimes ebullient, sometimes
demure love interest of Richard Beymer's responsible yet sensitive Tony.
They have a believable chemistry on film: seemingly feeding off each
other's energy and rising together on a buoyancy born of young love.
Natalie Wood, however, did not sing her character's song but, instead,
was dubbed by Marni Nixon, who also dubbed Anna (Deborah Kerr)'s singing
voice in The King and I (1956) and Eliza Doolittle (Audrey Hepburn)'s
singing voice in My Fair Lady (1964). Richard Beymer's singing
voice was dubbed by Jimmy Bryant.
Rita Moreno, who had already appeared in nearly two dozen films and
as many television productions, finally received wide acclaim for her
role as Maria's friend, Anita, the fiancée of Maria's brother,
Bernardo (George Chakiris). As Anita, Moreno steals the scene whenever
she's in it: sarcastic, strong and wise beyond her years (not to mention
a fantastic dancer). While Rita's singing voice was dubbed by Betty
Wand for "A Boy Like That," which was below her range, she
sang "America" and "Quintet" herself.
While most of the film is shot on sound stages, the opening dance sequences
were shot on the Upper West Side of Manhattan where Lincoln Center stands
today. The area had been condemned, and the buildings were in the process
of being demolished to make way for Lincoln Center. Demolition was delayed
so that the film sequence could be completed.
Many writers and directors have attempted to adapt and update classic
Shakespeare tales. Few of them, however, have worked on as many levels
as West Side Story. It's a testament to the lasting strength
of this film that it remains widely known (and frequently parodied)
today. Though made nearly 50 years ago, West Side Story resonates
with today's viewers as deeply as Shakespeare's oeuvre, 400 years after
they were written.
