![]() As the camera swoops and twists around partially demolished buildings, we glide past an illustrated sign on a construction site: Lincoln Center. Or rather, a New York City that’s in the process of vanishing, being wiped away, receding into history. The first thing we see - before the Jets and the Sharks, before Tony (Ansel Elgort) and Maria (Rachel Zegler) start making goo-goo eyes at each other, before Officer Krupke hassles these depraved-because-they’re-deprived kids, before anyone questions how many bullets are left in the gun - is New York City. Suddenly, the notion of movie musicals returning to center stage doesn’t seem like mere trend-piece fodder.īut that’s not technically how the film begins. The juvenile-delinquent struts that burst into ballet moves, the abrupt leaps into the air, the sight of old-school greasers displaying an amazing grace, the synchronized bodies in motion moving past city street corners: It’s all as much of a rush here as it was in Robert Wise’s version. It wildly succeeds, as do many of the classic set pieces we know and love, with flying colors (sometimes literally with flying colors). ![]() The opening number of West Side Story, Steven Spielberg’s all-in adaptation of the landmark Broadway musical and remake of the 1961 Oscar winner, aims to be as exhilarating and breathtaking as humanly possible.
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