West Side Story – The Secrets of a (A)Temporal Classic

Not so long ago, three years ago, America's beloved director, Steven Spielberg, made his debut in the world of musicals with West Side Story, or Love sublime love for those close to it. This special edition celebrated the 60th anniversary of its cinematic predecessor and revealed a favorite for Spielberg, who said that it was the first piece of popular music that the family allowed into the house during his childhood. The musical is inspired by a Broadway classic of the same name, premiered in 1957, and both are adaptations of the Shakespearean literary classic Romeo and Juliet. Now the question is: how does art transcend so many decades and continue to captivate new audiences? Let's examine its secrets!

Let's remember its essence. West Side Story follows the story of San Juan Hill, a neighborhood on the Upper West Side of Manhattan, New York, where the rivalry between the Jets (Americans, led by Riff) and Sharks (Puertorico, led by Bernardo) gangs unfolds. As the saying goes, there is a fine line between love and hate, and it is in the face of this rivalry that a tragic love is born between Maria (Bernardo's sister) and Tony (a former member of the Jets).

The film was a product of its time. The 50s were a defining time for the Puerto Rican community. On October 30, 1950, the Puerto Rican Nationalist Party led a series of uprisings against U.S. rule in Puerto Rico. These uprisings called for independence and recognition of the island's international sovereignty. Notable uprisings included those in Utuado, Jayuya, and San Juan, as well as a plot to assassinate President Harry S. Truman. On March 1, 1954, four nationalists attacked the U.S. House of Representatives in an attempt to draw international attention to Puerto Rico's plight and the cause of independence.

Between 1946 and 1950, an estimated 31.000 Puerto Ricans migrated to New York City each year, attracted by the promise of a better life and escaping the island’s poverty. The Puerto Rican community in New York grew, giving rise to bodegas (small supermarkets) and piragueros (slushie vendors). This decade set the stage for the 60s, which were marked by many revolutions and turmoil. In New York, Puerto Rican musicians popularized mambo, salsa, and boogaloo. Tito Puente and Tito Rodríguez pioneered mambo, while Willie Colón, Ray Barretto, and the Fania All-Stars led the rise of salsa. Joe Cuba and others created the boogaloo sound, fusing mambo and Cuban dance rhythms with African-American rhythm and blues.

The 60s were marked by revolutions and turbulence, but also by the debut of the musical West Side Story on the big screen, which became a huge success, both critically and commercially. It captivated audiences and its popularity helped solidify the musical genre in cinema, as well as bringing to light important social issues of the time, such as racial tensions and immigration.

The film West Side Story represented a major milestone for the Latino community, highlighting the performance of Rita Moreno, who became the first Latin American actress to be nominated for and win an Oscar, earning the 'O' in EGOT — an acronym that refers to artists who have won an Emmy, Grammy, Oscar and Tony. Her win not only celebrated her talent, but also opened doors for other Latino artists in Hollywood, symbolizing the importance of representation in the film industry. Before then, when represented at all, many Latinos were often relegated to villainous roles in Westerns or silent background characters, with their identities often overlooked.

However, it is crucial to recognize that, although the film was a landmark, it was far from a bed of roses. Many thorns were left along the way, such as the use of brownface — a practice in which non-Latino actors paint their skin brown or adopt cultural stereotypes to portray characters of Latino origin — and the casting of non-Latino actors in the roles of Puerto Rican characters.

Furthermore, the song “America” encapsulates the struggle of the Puerto Rican characters as they lament their dream of living as immigrants in the United States, in contrast to the harsh reality they face. However, this song is controversial because its lyrics are filled with stereotypes and express a tone of contempt towards Puerto Rico, perpetuating the idea that life in America is always superior. Beyond the term itself, “America” refers to a continent that we share, and not just the country colonized by England.

Flashforward to 2021: Spielberg gave a new look to West Side Story, revisiting the 1961 classic and elevating the Latin presence, even if some controversies have been left aside. With Rita Moreno shining at 90 years old in a special appearance, the film now displays a more authentic and deep Latin touch. Vibrant colors highlight the Latin community, while the use of Spanglish and the significant presence of the Puerto Rican flag better capture the Puerto Rican identity of the characters.

Taking advantage of technological advances, the remake improves the colorization and explores striking visual contrasts: the gray of the Jets — symbolizing the working class and European immigration — contrasts with the warm colors of the Sharks, linked to the Latino community. In addition, Spielberg diversified the team behind the camera, providing a more genuine and current representation of the Latino community. The degraded neighborhood and the eviction scenes reference gentrification and the displacement of immigrant communities in urban areas, in addition to being a reflection of social divisions and tensions. Spielberg uses these scenarios to underscore how the Latino community is pushed into the “shadows of society.”

Spanglish and Latin rhythms are more than just cultural props; they are an act of resistance. Spielberg, by giving Spanglish more screen time and featuring the Puerto Rican flag, celebrates Latino culture rather than diluting it, something that was rare in Hollywood, especially in past decades. The presence of a wall with the Puerto Rican flag can be interpreted as a veiled critique of immigration policies and the treatment of Puerto Ricans and Latinos in general. This visual detail is subtle, but it alludes to the current treatment of immigrants in the US, especially in the post-Trump era, and the ongoing debate over access to guns in the US. In addition to referring to contemporary discussions about immigration in the US, it serves as a metaphor for the struggle for space and belonging.

Some subtle changes in the narrative reinforce this authenticity. Knives have been replaced by clubs and guns, while song lyrics have been adapted to reflect modern issues in a more sensitive way. At the end, unlike 1961, where the communities remain divided after the tragedy, the new adaptation features everyone carrying Tony's body, symbolizing unity between the rival groups. This choice reinforces a vision of hope and unity, suggesting that despite divisions and tragedies, there is still the possibility of reconciliation and solidarity.

The remake goes further, adding political and social layers that address issues such as the unfair treatment of the Latino community by the police, territorial disputes, and prejudice. Issues of privilege and immigration permeate the film, making the story relevant to today. The song “America,” with its catchy but ironic lines, reflects the duality of the “American dream.” The idea of ​​a “bright life” seems illusory when, in practice, the characters find closed doors and limited opportunities – “life is all right in America, if you're all white in America.” The reference to the island of Puerto Rico as a place that offers warmth and hope, but also hardship, is a reminder of the complexities of being Puerto Rican in the United States. Despite the promise of freedom and inclusion, hardships persist, and the new version of West Side Story makes this irony even more latent, giving a contemporary touch to the old promises.

This text is also available on SOMOS blog: https://blog.somoslatinos.co/west-side-story-segredos-classico-atemporal/