"There's a place for us, A time and place for us. Hold my hand and we're halfway there. Hold my hand and I'll take you there Somehow, someday, somewhere!"
A 1957 Broadway musical with music composed by Leonard Bernstein and lyrics written by Stephen Sondheim, and its 1961 film adaptation. A lot of people do not like to admit it, but it's basically a clone of William Shakespeare's Romeo and Juliet.It may seem Older Than Steam, with more than a few elements that you may recognize from other works. It is also a great example of Seinfeld Is Unfunny, with many modern audiences not understanding why it was such a groundbreaking musical in its time. It is recognized as the leader in using dance to further the plot, thanks to Jerome Robbins' choreography, and is also recognized for portraying minority characters (relatively) positively, using vulgar language and slang, and not being a particularly feel-good musical.Two gangs, one Polish-American (Jets) and the other Puerto Rican (Sharks), are fighting over territory on Manhattan's West Side when Tony, a member of the Jets, falls in love with Maria, the younger sister of the Sharks' leader Bernardo. Unfortunately for the young couple, they happen to fall in love on the very night the two gangs decide to end their feud in one final battle. Tony manages to persuade the two gangs to reduce it to a one-on-one "fair fight", but when Maria tells Tony to stop the fight altogether, his attempt to intervene results in the leader of the Jets, his best friend Riff, getting knifed to death by Bernardo. In a fit of rage, Tony then kills Bernardo in return.Act Two begins with Maria finding out about Bernardo's death from her arranged fiance, Chino, who then vows to kill Tony. Tony turns up and they spend the night together. After we find out what happened to the Jets, we meet up with the lovers. Bernardo's girlfriend Anita shows up, and Tony escapes, with a plan to escape to the country. Anita, despite hating Tony for killing Bernardo, agrees to tell Tony to stay at the drugstore he works at until Maria arrives. When she gets there however, she is nearly raped by the Jets that have gathered there. In a fit of rage, she says that Maria is dead, killed by Chino. Tony's boss tells Tony this, and he runs out into the street, calling for Chino to 'kill him, too.' Maria and Tony meet each other in the street, but before they can embrace, Chino steps from the shadows and kills Tony. Maria denounces both sides of the conflict for their part in Tony's death, and for how "we all killed him," not with guns, not with knives, but with hate. Thoroughly heartbroken, the Jets and Sharks together carry out Tony's body. The End.Notable for some of the most famous songs in musical theater, such as "Tonight," "America" and "I Feel Pretty", with music by Leonard Bernstein and lyrics by Stephen Sondheim. The movie adaptation won a whopping 10 Academy Awards, including Best Picture.
Asshole Victim: Riff and Bernardo could both arguably be seen as this.
Attempted Rape: Anita is attacked and nearly raped by the Jets when she heads to Doc's to tell Tony to wait for Maria. This angers her and drives her to hate them badly enough that when Doc returns and stops it, Anita tells them that Chino shot Maria, which sets up the Downer Ending.
In the stage production this may be played as harrassment without obvious intention of sexual assault, and Anita gets offended by catcalls rather than an actual attempted rape.
Alternatively in the stage production sometimes Doc arrives too late to stop the Jets, and interrupts them in the act.
Bad Cop/Incompetent Cop: Shrank's the bad cop, a racist who wants the Sharks run out of town but isn't exactly crazy about the Jets either, and who cares most of all about getting a promotion. Krupke's the incompetent cop, never once doing anything successfully.
Bowdlerise: Anita's lines in "Tonight" are changed from "He'll walk in hot and tired, so what / No matter if he's tired, as long as he's hot" to "He'll walk in hot and tired, poor dear / No matter if he's tired, as long as he's here."
And in "Gee, Officer Krupke", the line "My father is a bastard / My ma's an SOB / My grandpa's always plastered / My grandma pushes tea" is changed to "My daddy beats my mommy / My mommy clobbers me / My grandpa is a Commie / My grandma pushes tea."
And in the "Jet Song" the lines "When you're a Jet / And the spit hits the fan / You got brothers around / You're a family man" are changed to "When you're a Jet / Let them do what they can / You got brothers around / You're a family man." Particularly funny given that "spit" in the original was probably changed from...
The writers of the movie took the line, "Trusting with our hearts open! With our arms open!" - "You came with your legs open!" and replaced "legs" with "mouth."
Which sounds just as bad.
Furthermore, Stephen Sondheim originally wanted to end the song "Gee, Officer Krupke, fuck you!" but it was changed to "Krup you!" (In his book of the lyrics, he comments that he thought the "Krupp" change was for the better).
In the show, Maria whines when Anita won't make her dance dress sexier, insisting that "it's now to be used for dancing, not kneeling in front of an altar!", implying that it was once her church dress. Anita responds, "With those boys, you could start out dancing and end up kneeling", insinuating either (a) "having" to get married because of sexual activity and pregnancy, or (b) the sexual activity itself. In the movie, this is changed to "dress for praying" and "start out dancing and end up praying", making the implications less obvious.
Schrank' s taunting of Action changes from "How's the action on your mother's mattress?" to "How's the action on your mother's side of the street?" not much better but enough to go over the head of some younger viewers.
Butch Lesbian: While some of Anybody's lines imply she's heterosexual or bi, she fits the look, and acts in a comparatively "masculine" manner for her time and place.
The character could very likely be a trans boy rather than an actual woman, too. It's something that can vary from production to production.
Call-and-Response Song: "America." In the stage version, Rosalia sings about how great Puerto Rico was and the other women sing about how America is better. In the film, the women sing about America's positive qualities and the men sing about its xenophobia.
Category Traitor: Maria is pressured to marry Chino simply because they are from the same ethnic group. When she falls in love with an outsider, all hell breaks lose. Interestingly, Chino never get any Entitled to Have You lines, but that's probably because he's such a minor role in the first place.
Doc: When do you kids stop?! You make this world lousy! Action: We didn't make it, Doc.
Cycle of Vengeance: As best as can be determined from each side's self-serving account, the conflict began when the Jets attacked Bernardo the day he moved to the West Side (though the Jets would say Bernardo began it by moving there.) Bernardo created the Sharks to oppose them, but by the time the movie begins both sides have become virtually indistinguishable, and each is concerned only with vengeance on the other for whatever the other's last act of vengeance on them was. In the reprise of "Tonight," each side sings the line "They began it."
They also sing the exact same music on that line, suggesting that the genesis of each gang's hatred is basically identical.
Dance of Romance: Tony and Maria, though it is a cha-cha and not the more standard waltz.
Digital Destruction: To put it bluntly, every DVD and Blu-Ray Disc has at least one flaw. Most infamously, the Special Edition DVD plays "Tonight" out of sync, and the 50th Anniversary Blu-Ray has the screen turn black during a few seconds of the overture.
Dirty Cop: Lt. Schrank only barely holds the Jets in higher esteem than the Sharks. To him, they're all immigrant scum.
Double Entendre: "Hey! I got a social disease!", referring of course, to juvenile delinquency, but the term Social Disease can also mean something very different...
Downer Ending: Sure, the fighting's over, but three people are dead. But come on, this was based off of Romeo and Juliet, so it was hard not to see that one coming.
Actually a Bittersweet Ending, however, as least Maria seemed to have decided to not kill herself according to updated Word of God. note (From the Headscratchers section.) Some theatre versions take a step further (such as the Australian production during 2010), and make it clear that Maria is determined to live.
Enemy Mine: For all their hatred of each other, the Jets and the Sharks seem pretty unified in their hatred of Shrank—when Bernardo mouths off to him, Riff and the other Jets are visibly amused/impressed by this. Later, when Shrank insults Bernardo, it's Riff who holds Bernardo back from attacking him.
Expy: Every single character corresponds to one in "Romeo & Juliet", as do many of the scenes and sequences. The most obvious being that Tony is Romeo while Maria is Juliet. The Jets are the Montagues, the Sharks the Capulets, and so on:
Characters: Bernardo=Tybalt, Anita=Nurse/Lady Capulet, Riff=Mercutio, Chino=Paris, etc.
Scenes/Storylines: the opening fight, Juliet/Maria's betrothal to Paris/Chino, Juliet's debut party=Maria's first dance, the balcony scene=the fire escape scene, Romeo & Juliet's elopement (The Friar corresponds to Doc)= Tony and Maria acting out a wedding, Tybalt/Bernardo killing Mercutio/Riff, Romeo/Tony killing Tybalt/Bernardo, the Nurse being taunted and insulted by the Montagues and thus unable to tell Romeo that Juliet's death is faked=Anita being assaulted by the Jets and thus lying about Maria's death, leading to Romeo's/Tony's suicidal response.
Extremely Short Timespan: Starts on Friday afternoon and ends on either very late Saturday night or very early Sunday morning. Considering everything that happens, that is one hell of a weekend.
The Ingenue: Maria, initially. When Tony asks her if she's "making a joke" in their Love at First Sight moment, she replies, "I have not yet learned how to joke that way." (i.e. she is too inexperienced to be anything but sincere). Her family is very concerned with protecting her, especially from 'a boy like that' who only 'wants one thing.' Her naive expectation that love-struck Tony can stop the rumble has tragic consequences for everyone.
In It For Life: "When you're a Jet you're a Jet all the way, from your first cigarette 'til your last dying day."
Intermission: The play ends Act I after the rumble, while Act I of the movie ends after the war council. However, some prints of the movie (including all of the VHS tapes, laserdiscs, and pre-2003 DVDs), don't have an intermission at all, since director Robert Wise felt that it broke the tension.
Lampshaded Double Entendre: The chance to exaggerate the line "Cause no one wants a fella with a social disease!" in 'Gee, Officer Krupke' is passed over in the movie, but in stage productions, actors will sometimes do a suggestive shuffle on the floor, cover their crotches, or whatever other creativity the choreographer comes up with. Especially common in high schools, of course.
Mood Whiplash: in the original stage play, "I Feel Pretty" takes place RIGHT after the rumble and just before Maria learns Tony killed Bernardo. "Gee, Officer Krupke" also takes place after the rumble. These were moved to before the rumble in the film.
That being said, the movie still has a little bit of mood whiplash after the rumble. It cuts from Riff and Bernardo lying dead, to Maria dancing wistfully on a rooftop. Since this dance only lasts a minute at most, until Chino appears to deliver some tragic news, the amount of mood whiplash still feels significantly smaller than it did in the play.
Also applies to the "Gee, Officer Krupke" and "Cool" songs. In the stage version, the very sinister, serious "Cool" plays before the war council, whereas the comical "Gee, Officer Krupke" plays right after the rumble; the film reverses their placement. Stephen Sondheim has put out there that he prefers the play's placement of these songs.
Moral Myopia: Tony and Maria are respectively the only members of the Jets and the Sharks who show any sympathy for the other side.
Nice Job Breaking It, Hero: Tony successfully stops an all-out war with knives and guns, by suggesting that they merely have the strongest of the two sides fistfight. It seems like nothing worse could happen than a broken nose or two. But then Maria objects even to this, saying that any fighting is bad, and although Tony can see it leading nowhere nice to stop them, he does it because he loves her. Fast-forward. Rather than a simple fistfight, three people are dead, one is arrested and will most likely be hanged for murder, the two gangs hate each other even more (until they reconcile) and Maria survives the movie.
Poirot Speak: The Puerto Ricans litter their English with. For examples, "por favor?", "una poca" and "si".
Averted in the current revival, in which both the songs "I Feel Pretty" and "A Boy Like That/I Have A Love" are both sung entirely in Spanish, in addition to most scenes featuring only the Sharks being spoken in Spanish.
Due to negative feedback the songs were changed back into English in August 2009, but the spoken scenes remain in Spanish. This reaction could possibly have been avoided if they had displayed subtitles for the audience.
Then again, perhaps not, because the Spanish lyrics also completely ruin the melodic lines of most of the songs that they're in and therefor make die-hards angry anyway. This is particularly prevalent in the Tonight quintet, where the Sharks and Jets are meant to have echoing lines in order to portray the similarity of the groups and drive home the senselessness of the violence, but the Sharks are singing in Spanish and so instead it just sounds wrong.
Pragmatic Adaptation: The Movie is a very intact adaptation of the stage show, but song placement is shuffled around, to excellent effect. "Gee, Officer Krupke" and "I Feel Pretty" were both moved to Act I, which is lighter and more fun in tone. "Cool," an edgy and angry song, was moved into the similarly tense and dark Act II, averting the show's Mood Whiplash.
Taglines: For the movie version, the original poster boasted, "The screen achieves one of the great entertainments in the history of motion pictures", while re-release trailers proclaimed, "Unlike other classics, West Side Story grows younger."
Doc: Why, when I was your age— Action: When you was my age; when my old man was my age; when my brother was my age! You was never my age, none of you! The sooner you creeps get hip to that, the sooner you'll dig us.