I finally got around to watching Steven Spielberg’s version of West Side Story. And, I also listened to The Songs of West Side Story released in 1986 performed by a number of well known artists.
This is Steven Spielberg’s first musical, but one has to wonder why a remake of a film from 1961? Spielberg makes some interesting changes in West Side Story. In the original movie version, Natalie Wood played the Puerto Rican girl, Maria. The only Latina in that movie was Rita Moreno who played Anita. Spielberg cleverly cast Ms. Moreno in his West Side Story as Valentina (and has Moreno sing “Somewhere” instead of having Tony and Maria sing it as in the play and the original film).
Ariana DeBose earned her Oscar with a scintillating performance as Anita. I thought Rachel Zegler was an okay Maria. But Spielberg missed the boat casting Ansel Elgort as Tony. Elgort had ZERO chemistry with Maria.
I listened to the original soundtrack of West Side Story a hundred times as a kid. Loved “America,” “Maria,” “Tonight,” “I Feel Pretty,” and “Somewhere.” Great songs! If you want to see a 60-year-old musical translated into the 20th Century, check out Spielberg’s West Side Story. GRADE: B+
TRACKLIST:
| 1 | All 4 One*– | Something’s Coming Drums, Synthesizer – Oliver Lieber*Synthesizer, Synthesizer [Bass], Keyboards, Drums [Electric], Guitar – David PackDrums, Synthesizer – Oliver Lieber*Synthesizer, Synthesizer [Bass], Keyboards, Drums [Electric], Guitar – David Pack | 4:41 |
| 2 | Selena– | A Boy Like That Drums – Vinnie ColaiutaKeyboards – David Pack, Greg PhillinganesKeyboards [Additional] – John DicksonPercussion – Sheila E.Programmed By [S-760] – Alison (10), John LehmkuhlDrums – Vinnie ColaiutaKeyboards – David Pack, Greg PhillinganesKeyboards [Additional] – John DicksonPercussion – Sheila E.Programmed By [S-760] – Alison (10), John Lehmkuhl | 5:53 |
| 3 | Michael McDonald, James Ingram, David Pack– | Maria Arranged By [Keyboards] – David Benoit, Greg PhillinganesArranged By [Vocals] – Mervyn WarrenBass – Neil StubenhausDrums – John Robinson (2)Guitar [Classical] – Dean ParksKeyboards – George DukePercussion – Paulinho DaCosta*Programmed By [Atari] – Bob McChesneySoprano Saxophone – Vince DenhamStrings, Synthesizer – David BenoitArranged By [Keyboards] – David Benoit, Greg PhillinganesArranged By [Vocals] – Mervyn WarrenBass – Neil StubenhausDrums – John Robinson (2)Guitar [Classical] – Dean ParksKeyboards – George DukePercussion – Paulinho DaCosta*Programmed By [Atari] – Bob McChesneySoprano Saxophone – Vince DenhamStrings, Synthesizer – David Benoit | 4:39 |
| 4 | Brian Setzer With The Brian Setzer Orchestra– | Prologue / Jet Song Arranged By – Brian Setzer, Michael AcostaBacking Vocals – Brian Setzer, David Pack, Paul Marr, Tollack Olstad*Bass – Bob ParrDrums – Bernie Purdie*Guitar – Brian SetzerPiano – Roger BurnProgrammed By [Sound Effects] – John LehmkuhlSaxophone – Robert Sandman*, Don Roberts, George Shelby, Michael Acosta, Steven Fowler*Synthesizer, Grand Piano – Randy WaldmanTrombone – Andrew Martin*, George McMullen, Michael Vlatkovich, Robert Hioki*Trumpet – Daniel Fornero*, John Fumo, Sal Cracchiolo, Stan WatkinsVocals [Intro Voices] – Shem Schroeck, The Jerky BoysArranged By – Brian Setzer, Michael AcostaBacking Vocals – Brian Setzer, David Pack, Paul Marr, Tollack Olstad*Bass – Bob ParrDrums – Bernie Purdie*Guitar – Brian SetzerPiano – Roger BurnProgrammed By [Sound Effects] – John LehmkuhlSaxophone – Robert Sandman*, Don Roberts, George Shelby, Michael Acosta, Steven Fowler*Synthesizer, Grand Piano – Randy WaldmanTrombone – Andrew Martin*, George McMullen, Michael Vlatkovich, Robert Hioki*Trumpet – Daniel Fornero*, John Fumo, Sal Cracchiolo, Stan WatkinsVocals [Intro Voices] – Shem Schroeck, The Jerky Boys | 4:02 |
| 5 | Kenny Loggins & Wynonna– | Tonight Drums – Simon PhillipsGuitar – Grant GeissmanPercussion – Brian KilgorePiano – Greg PhillinganesProgrammed By [Computer] – Bob McChesneySynthesizer – Nathan East, Rich Ruttenberg*Synthesizer [Strings] – David BenoitDrums – Simon PhillipsGuitar – Grant GeissmanPercussion – Brian KilgorePiano – Greg PhillinganesProgrammed By [Computer] – Bob McChesneySynthesizer – Nathan East, Rich Ruttenberg*Synthesizer [Strings] – David Benoit | 4:22 |
| 6 | Patti Austin, Mervyn Warren & Bruce Hornsby– | Piano Arranged By – Greg PhillinganesArranged By [Horns] – Jerry HeyArranged By [Vocals] – Mark KibbleArranged By, Arranged By [Vocals] – Mervyn WarrenBass – Larry KimpelDrums – Simon PhillipsFlugelhorn, Trumpet – Gary GrantHorns – The Jerry Hey Horn SectionPercussion – Brian KilgorePiano – Bruce HornsbySoprano Saxophone – Branford MarsalisSynthesizer [Korg 01/w] – Greg PhillinganesTenor Saxophone, Baritone Saxophone – Daniel Higgins*Trombone [Tenor], Bass Trombone – William Reichenbach*Trumpet, Flugelhorn – Jerry HeyArranged By – Greg PhillinganesArranged By [Horns] – Jerry HeyArranged By [Vocals] – Mark KibbleArranged By, Arranged By [Vocals] – Mervyn WarrenBass – Larry KimpelDrums – Simon PhillipsFlugelhorn, Trumpet – Gary GrantHorns – The Jerry Hey Horn SectionPercussion – Brian KilgorePiano – Bruce HornsbySoprano Saxophone – Branford MarsalisSynthesizer [Korg 01/w] – Greg PhillinganesTenor Saxophone, Baritone Saxophone – Daniel Higgins*Trombone [Tenor], Bass Trombone – William Reichenbach*Trumpet, Flugelhorn – Jerry Hey | 5:34 |
| 7 | Aretha Franklin– | Somewhere Arranged By [Orchestra] – Marty PaichBacking Vocals – Natalie JacksonBass – John Pena*Concertmaster – James GetzoffConductor [Orchestra] – Marty PaichDrums – Vinnie ColaiutaKeyboards – Greg PhillinganesArranged By [Orchestra] – Marty PaichBacking Vocals – Natalie JacksonBass – John Pena*Concertmaster – James GetzoffConductor [Orchestra] – Marty PaichDrums – Vinnie ColaiutaKeyboards – Greg Phillinganes | |
| 8 | Natalie Cole, Patti LaBelle & Sheila E.– | America Arranged By – Greg PhillinganesBacking Vocals – Joe Puerta, Jon Paul Joyce, Marlena Jeter, Maxi AndersonDrums – John Robinson (2)Guitar – Grant GeissmanHorns – The Jerry Hey Horn SectionPercussion [Latin], Timbales, Congas – Sheila E.Percussion, Timpani, Glockenspiel, Xylophone, Drums [Orchestra] – Joe PorcaroPiano, Synthesizer [Bass], Percussion [Electronic] – David PackArranged By – Greg PhillinganesBacking Vocals – Joe Puerta, Jon Paul Joyce, Marlena Jeter, Maxi AndersonDrums – John Robinson (2)Guitar – Grant GeissmanHorns – The Jerry Hey Horn SectionPercussion [Latin], Timbales, Congas – Sheila E.Percussion, Timpani, Glockenspiel, Xylophone, Drums [Orchestra] – Joe PorcaroPiano, Synthesizer [Bass], Percussion [Electronic] – David Pack | 6:14 |
| 9 | Little Richard– | I Feel Pretty Arranged By – Greg PhillinganesArranged By [Horns] – Jerry HeyArranged By [String Synthesizer] – David BenoitBass – Larry KimpelDrums – Vinnie ColaiutaGuitar, Slide Guitar – Tim PierceHorns – The Jerry Hey Horn SectionKeyboards – Greg PhillinganesOrgan – David FrankPercussion, Xylophone – Joe PorcaroViolin – Lili HaydnVocals – Marlena Jeter, Mortenette Jenkins*, Natalie JacksonArranged By – Greg PhillinganesArranged By [Horns] – Jerry HeyArranged By [String Synthesizer] – David BenoitBass – Larry KimpelDrums – Vinnie ColaiutaGuitar, Slide Guitar – Tim PierceHorns – The Jerry Hey Horn SectionKeyboards – Greg PhillinganesOrgan – David FrankPercussion, Xylophone – Joe PorcaroViolin – Lili HaydnVocals – Marlena Jeter, Mortenette Jenkins*, Natalie Jackson | 4:00 |
| 10 | Tevin Campbell– | One Hand, One Heart Acoustic Guitar, Soloist – Dean ParksCello – Missy Hasin*Keyboards, Bass, Drums [T3, S760] – David PackPercussion [Acoustic] – Brian KilgorePercussion [Electronic], Programmed By – John “Skippy” Lehmkuhl*Violin – Lili HaydnAcoustic Guitar, Soloist – Dean ParksCello – Missy Hasin*Keyboards, Bass, Drums [T3, S760] – David PackPercussion [Acoustic] – Brian KilgorePercussion [Electronic], Programmed By – John “Skippy” Lehmkuhl*Violin – Lili Haydn | 4:29 |
| 11 | Salt-N-Pepa*, Def Jef, Lisa “Left Eye” Lopes, The Jerky Boys : Johnny Brennan*, Kamal (3) & Paul Rodriguez (4)– | Gee, Officer Krupke Arranged By – Greg PhillinganesArranged By [Rhythm, Rap] – Def JefBacking Vocals – Burleigh Drummond, Chris North*, David Pack, Joe Puerta, Rich Rees, Shim Schroeck*, Tollack Olstad*Keyboards, Synthesizer [Bass] – Greg PhillinganesLyrics By [Rap] – Cheryl James (2), David Pack, Def Jef, Paul Rodriguez (4)Programmed By [Akai, Noises] – Def JefArranged By – Greg PhillinganesArranged By [Rhythm, Rap] – Def JefBacking Vocals – Burleigh Drummond, Chris North*, David Pack, Joe Puerta, Rich Rees, Shim Schroeck*, Tollack Olstad*Keyboards, Synthesizer [Bass] – Greg PhillinganesLyrics By [Rap] – Cheryl James (2), David Pack, Def Jef, Paul Rodriguez (4)Programmed By [Akai, Noises] – Def Jef | 4:23 |
| 12 | Trisha Yearwood– | I Have A Love Acoustic Guitar – Billy Joe Walker, Jr.*Arranged By – Pat CoilBacking Vocals – Pamela Sheyne*Bass – Dave PomeroyDrums – Steve BrewsterPercussion – Sam BaccoPiano – Pat CoilProducer [Trisha Yearwood Vocals] – Garth FundisSteel Guitar – Paul FranklinSynthesizer – Steve NathanAcoustic Guitar – Billy Joe Walker, Jr.*Arranged By – Pat CoilBacking Vocals – Pamela Sheyne*Bass – Dave PomeroyDrums – Steve BrewsterPercussion – Sam BaccoPiano – Pat CoilProducer [Trisha Yearwood Vocals] – Garth FundisSteel Guitar – Paul FranklinSynthesizer – Steve Nathan | 3:43 |
| 13 | Chick Corea– | Prelude To The Rumble Piano, Soloist – Chick CoreaPiano, Soloist – Chick Corea | 2:21 |
| 14 | Steve Vai’s Monsters & Chick Corea’s Elektric Band*– | The Rumble Arranged By – Chick Corea, David Pack, David Paich, John DicksonArranged By [Rhythm] – David Weckl*, Simon PhillipsBass – James Earl, Joe Pena*Drums – David Weckl*, Simon PhillipsElectric Piano [Rhodes], Synthesizer – Chick CoreaGuitar – Frank Gambale, Steve VaiPercussion – Joe Porcaro, Lenny CastroSaxophone – Eric MarienthalSynthesizer – David Paich, Greg PhillinganesArranged By – Chick Corea, David Pack, David Paich, John DicksonArranged By [Rhythm] – David Weckl*, Simon PhillipsBass – James Earl, Joe Pena*Drums – David Weckl*, Simon PhillipsElectric Piano [Rhodes], Synthesizer – Chick CoreaGuitar – Frank Gambale, Steve VaiPercussion – Joe Porcaro, Lenny CastroSaxophone – Eric MarienthalSynthesizer – David Paich, Greg Phillinganes | 8:03 |
| 15 | Orchestra*– | Prelude To Somewhere Conductor – Marty PaichConductor – Marty Paich | 0:43 |
| 16 | Phil Collins– | Somewhere Arranged By [Orchestra] – David BenoitBacking Vocals – Karla BonoffConductor – Marty PaichDrums – Vinnie Colaiuta |
I don’t have any need or desire to see this remake, though I am sure I will watch it when it is available to us. The casting is indeed odd. Ansel Elgort seems a very strange choice. I still remember when my mother took my brother and me to see the 1961 original. Back then, she just went into a movie at whatever time it was, rather than, you know, waiting for the actual start time. So we walked in AFTER the rumble! WTF? We did stay to see the beginning, but even then I knew this was a stupid way to see a movie. Now I feel like Alvy Singer in ANNIE HALL. I have to see a movie from the beginning or I’d rather not see it at all.
/end personal aside
Jeff, I remember when movie theaters used to list the times for the chariot race in BEN-HER. Like you, I prefer to watch movies from start to finish. I also prefer to read novel series in order.
I remember buying (and reading) the novelization of the movie by Irving Shulman!
Jeff, I remember that classic paperback cover on WEST SIDE STORY!
I’m a big Spielberg fan but not really a fan of musicals, so I’m still tabulating on this. I saw the original and remember it fondly. My favorite line was in one of the songs, but I don’t remember which one: “when you’re a Jet you’re a Jet all the way, from your first cigarette to your last dying day”.
Michael, like most movies I watch on streaming services like Disney+, I had the closed captions on so I read that line when it was spoken. I know a lot of people who criticize Stephen Sondheim’s work, but he was brilliant with the songs in WEST SIDE STORY.
Not surprisingly, that line is from “Jet Song.”
Jeff, I’m fond of the verse in “America” that pretty much says it all:
Life can be bright in America
If you can fight in America
Life is all right in America
If you’re all white in America
Sondheim was only 25 when he wrote the lyrics for WEST SIDE STORY.
Jeff, there’s no doubt Sondheim was a prodigy. WEST SIDE STORY provides vivid proof of that!
I’d rather just watch la Morena in THE RITZ, thank you.
Dan, I’ll watch Rita Morena in anything!
I enjoyed it but it was the music and dancing I loved, not the performances, which were not good in ’61 and not so good this time. But the music and dancing carry the story. I grew up on this score and it will forever be playing in my head.
Patti, Diane thought the music and dance sequences were the best parts of Speilberg’s WEST SIDE STORY.
And I first heard BERNSTEIN PLAYS BRUBECK PLAYS BERNSTEIN for the first time a few years after first seeing the first film of WSS, and that helped cement the melodies for me (half that album is Howard Brubeck’s composition “Dialogues for Jazz Combo and Symphony Orchestra”–The New York Philharmonic and the Brubeck Quartet, no surprise–and half is brother Dave Brubeck, Paul Desmond, Joe Morello and Gene Wright doing their takes on several WSS songs and one from WONDERFUL TOWN. My crush on Rita Moreno probably started about the time of first seeing the film…seeing her earlier in THE ELECTRIC COMPANY was less likely to stir the (then Very youthful) loins as well as heart.
Todd, I had a crush on Rita Moreno, too. Of course, in the Sixties I fell in love on a weekly basis: Marianne Faithful, Diana Ring, Grace Slick, and all those models Robert McGinnis used for his paperback covers!!!
I enjoyed it and I am not a fan of musicals. At least the gang members looked more like real gang members. In the i61 version they all looked like chorus boys. I really liked Spielberg’s use of the camera. I’m wondering was there a lesbian character in the original or was she an add on here.
Yes, Steve, there was – Anybody’s.
Steve, I agree with you on the gang members: they looked like toughs. You’re right about Spielberg’s camera work: eye-popping at times!
It was fine the way it was.
Rick, both versions of WEST SIDE STORY have their strengths and weaknesses.
I grew up watching the original film version when it ran annually and while Robert Wise was no artist he could be a solid enough craftsman (at least up through THE SAND PEBBLES / THE HAUNTING). Spielberg lost my interest by the early 80s so this one’s a “not even wild horses” for me. I still listen to the original cast recording though as well as Bernstein’s symphonic suite. I’ll occasionally listen to Andre Previn’s jazz arrangement and Tom Waits’ cover of “Someday” always gets me.
People walking into a movie halfway through and sitting through until the next screening when they got to the point where they walked in was very common around the midcentury. You see characters doing it in a lot of old movies and just last weekend I watched a Bugs Bunny cartoon where Bugs chastises a member of the audience (in silhouette) for attempting to leave where he “came in.” Orson Welles also used to talk about it in interviews. It seems weird now but people lived to a different rhythm back then and got out of the house a lot more so wandering into a theater whenever it was convenient made sense to a lot of folks.
When I first started going to movies in the 70s, friends and I would often exit the film we went to see and sneak into a flick on an adjacent screen that was already playing. If it was any good we’d stay in our seats for the next showing and catch the part we missed. This really wasn’t unlike the way many of us used to watch cable TV a decade ago-catching a movie that had already started knowing it would air again soon if we wanted to catch the rest of it. I still do this with some of the movie channels I watch and if a movie looks particularly good I’ll turn it off and plan on catching it from the beginning down the road.
Byron, today’s audience is so fragmented and suffers from low attention spans that you have to wonder if coming into a movie half-way makes any difference for them.
I’d certainly say Robert Wise demonstrated more than enough artistic ability in such films as ODDS AGAINST TOMORROW and THE DAY THE EARTH STOOD STILL as well as THE HAUNTING. He might not ever have done as well as with these three, but that’s enough to have proved his mettle.
Todd, I think Robert Wise is an underrated director.
Hitchcock attempted to put an end to this foolishness with PSYCHO by requesting that theaters not allow anyone in after the movie started. I don’t know how well it worked then, but in the long run sanity mostly prevailed.
It was most common in New York and other large city theaters, and second-run theaters most places, I believe.
Meanwhile, I’ve never seen an actually good Spielberg film (I rather liked JAWS on first viewing, as a kid, but didn’t love it…and rewatching it on tv a few years later didn’t improve on my experience); similarly with DUEL–when it was new, I was very young and liked it, but another viewing tended to show up how shallow and flashy it was…and I never liked, even when very young, his central segment of the NIGHT GALLERY pilot film. Having finally seen THE POST the other day, that competent piece of work is probably the best work from Spielberg I’ve encountered as an adult. Won’t break a sweat in attempting to see this version.
Todd, Spielberg’s competence in move-making insures high quality control for most of his work.
Not one of my favorite musicals, George, so I took a pass.
Also, they need to stop remaking this show.
Beth, like you, I wonder why Spielberg chose a remake of WEST SIDE STORY for his first musical.
Because he gets to do what he wants, and seeks prestige projects that he can turn out with shallow flashiness.