True, there are 60 years of technical advances, and Spielberg has a hand, genius, and knew how to assemble and lead a team of teachers in each department and a cast of figures worthy of consecration, such as the Rachel Zegler doll. Together they form an admirable show, with a marked display, almost without fainting. Notably, Tony Kushner’s adaptation, which relocates scenes and songs, better balances the moments and dialogues of each participating group and sets aside, as much as possible, the remnants of the theatrical origin of the work. Likewise, without ostentation it puts more into view what the previous version barely suggested (for example, the character of Anybodys) and without altering the original text much, creates a new character: instead of the old Jewish grocer who tries to bring some lucidity to the bellicose youths, here appears his Puerto Rican widow who tries the same thing with equal little luck. And it is she, in a beautiful and melancholic moment, who sings “Somewhere.” He sings it with the tired illusion of the years, but still firm. The interpreter, it is worth remembering, is called Rita Moreno, she was the
sensual Anita in the 1961 version, who in addition to being an actress is the executive producer of this film, and will be turning 90 tomorrow. Well, Spielberg turns 75 on the 18th.
An interesting detail: the West Side referred to, no longer exists. There now stands the extremely packed Lincoln Center, and it is in that place where the premiere of the new film was made. What still exists is racism, xenophobia and so on. And love and songs, luckily.
“Amor sin barreras” (“West Side Story”, EE.UU.); Dir.: S. Spielberg. Int.: R. Zegler, A. Elgort, D. Alvarez, R. Moreno.
Source From: Ambito
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