Operatőr:
Daniel L. FappSzereplők:
Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, George Chakiris, Simon Oakland, Ned Glass, William Bramley, Tucker Smith, Tony Mordente (több)Streaming (2)
Tartalmak(1)
New York West Side negyedének utcáin vívja harcát a helybéli fehér fiúkból és a Puerto Ricó-i bevándorlókból álló két banda. Az egyik táncos szórakozóhelyen találkozik egymással Tony, a Jets vezetője és a konkurens bandához tartozó csinos félvér lány, Maria. A két fiatal első pillantásra egymásba szeret. Felcsillan a remény, hogy szerelmük talán véget vet a régóta tartó gyűlölködésnek. Az összeütközés azonban elkerülhetetlen, az egyik összecsapásban Tony megöli Maria bátyját. (Film Mánia)
(több)Recenziók (6)
Gyönyörűen fényképezett, ellenállhatatlanul színes - az ingek és ruhák színeitől kezdve a külső és belső terekig, amelyek mindig színesebbé teszik az egyes jelenetek hangulatát. Az ablakok között ünnepi zászlóként lobogó száradó ruhák, vagy az emeletek között ferde fémlétrák egy komor jelenet hátterében... a kép minden részlete narratívan céltudatos és esztétikailag ízléses elrendezést mutat. Ehhez jön még a Rómeó és Júlia egyszerű és könnyen érthető jelenete, amelyet jóképű színészek adnak elő, és olyan okos párbeszédek, amelyeket ma Steven Zaillian sem írna meg. A West Side Story a musicalek számára szerintem olyan, mint ami az ügynöki kalandok számára Észak-északnyugat. De mire jó ez, ha a posztmodern Moulin Rouge kivételével ez a műfaj tőlem annyira v-é-g-t-e-l-e-n-ü-l távol áll, és a West Side Story esztétikai élménye is csak egy unalmas, kiéhezett várakozás volt a bemutató utáni állófogadásra.
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Good night, good night. Sleep well and when you dream, dream of me. Indifference against passion, innocence against inflammability. And the Sharks against the Jets in the intoxicating heat of New York immigrant society, where love tries to overcome all the bad blood. An ageless classic that even sixty years after its creation continues to touch the heart.
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In this case, I deliberately abstain from giving a rating because I’m at a loss. West Side Story feels to me like a museum piece that undoubtedly has value as a historical statement about choreography and the musical style of the late 1950s and early 1960s. I wouldn’t mind watching it as part of a film club for cinephile enthusiasts. However, as a piece meant to entertain and resonate with today’s audience, it does not work at all. Grease, which is 45 years old, remains fully functional, playful, and five-star, whereas West Side Story feels outdated in its choreography and naive in its message. I’m familiar with it from the stage as well, and thanks to modern adaptations, it was far more bearable there. I believe the film deserves a high-quality remake. This time, I’ll forgo an overall impression.
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A few days before the premiere of Spielberg's version, I wanted to remind myself of a film I once enjoyed very much. Unsurprisingly, I enjoyed it again. After all, Leonard Bernstein's music is still just as brilliant, Sondheim's lyrics are still so entertaining and to the point, the choreography of the dance numbers is amazing and well thought out, the commitment of all the actors/singers/dancers is infectious (yes, Tony is still the least interesting, but that's the fate of this breed of heroes) and Wise's direction, though it feels more theatre and studios than actual film, is still very engaging. But I noticed something I had never noticed before. After each number there is a pause in the film, a quieter moment perfect for a well-deserved applause. I wondered if that was intentional. And it was. Reportedly, people in the cinemas routinely rewarded West Side Story with thunderous applause as if they were in a theatre, and I wonder not only if there will be room for applause in Spielberg's version, but more importantly, if there will be clapping as well. I hope so, so that the contemporary viewer, transported back sixty years, can have that kind of fun. We’ll see.
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When I saw West Side Story for the first time, I had some difficulty appreciating it, because I was not sure if adapting the story of "Romeo and Juliet" into a modern environment was enough to propel the plotline of a two-and-a-half-hour musical. But after a second viewing (on the big screen this time), these doubts are gone. In fact, in terms of stage set and colour/lighting work, West Side Story shines. Both the music and choreography are legendary. The casting is accurate (watching the Richard Beymer & Russ Tamblyn duo in comparison to their Twin Peaks performance is funny) and Robert Wise’s directing skills are admirable, considering he had never filmed any musical before. As for the backbone of the story, it’s only secondary in this case and, thanks to the funny and brilliantly written dialogues, one doesn’t really give it much thought. Finally, I can appreciate this picture properly! [Summer Film School 2018]
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As a musical, it's excellent. There are fantastic dance numbers, and Russ Tamblyn also showcases some excellent acrobatic feats that really impressed me. As a variation on Romeo and Juliet, it's quite dull and unnecessarily drawn-out. There were times when I felt like an hour could have been cut from it. Still, some of the songs will linger in your head long after it's over.
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