subscribe to this pageNegron-Muntaner, Frances. "Feeling Pretty: West Side Story and Puerto Rican Identity Discourses." Social Text 18.2 (2000): 83-106.
West Side Story is often hailed as an intimate look at street life in poor, racially divided New York neighborhoods, but this paper argues that the film's dealings with New York City gang life is superficial and uninformed. There is agreement that, while dealing very generally with relevant themes, the story is not intended to realistically represent Puerto Rican immigration or culture. The creators of the play and film admit that their knowledge was limited even during the film's production.
The film portrays the Puerto Rican identities in a stereotypical manner--the males are all violent, aggressive gang members, while the females are all highly sexualized, whether overtly (Anita) or innocently (Maria) and rarely seen without a male escort. Racialization, or the collection of techniques used to enhance the racial divides, is the cause of much of the film's tension. Makeup is used to make Bernardo's skin darker, both Maria and Bernardo have obviously falsified Puerto Rican accents, and the European-descended Jets all happen to be blonde-haired. Negron-Muntaner notes that without these tricks, all the actors would appear to be simply American. The Puerto Ricans are presented throughout the film amidst a generic "Latino" culture of bright colors, broad movements, and unidentifiable music and accents. One particularly persuasive point for the racial inequality shown by the story's creators is the relative quality of a Puerto Rican vs. American life. Maria was brought to the U.S. to marry Chino, another Puerto Rican, but only finds happiness (and self esteem, as evidenced by her song, "I Feel Pretty") when she receives the affections of Tony, a white man.
The other important topic discussed in this paper is the issue of Puerto Rican/U.S. territoriality. Puerto Rico is the U.S.'s most significant territory, and the turf war between the Jets and the Sharks somewhat reflects the colonial relationship between the U.S. and Puerto Rico. As Negron-Muntaner explains, "Puerto Rico itself belongs to, but is not a part of, the United States; it is bound by the law but has no rights under the law" (86). So it is with the Puerto Rican characters of West Side Story; they are citizens of New York but "belonging" is just as out of reach as it would be for Puerto Ricans still living on their home island. The article also touches upon the themes of homosexuality and gender identity in the film, notably in the characters of Baby John and Anybodys, but as these claims are not as well argued or supported, nor readily apparent upon a more-or-less casual analysis of the film, the articles focus is on the racial themes.
Salisbury, Harrison E. "Youth Gang Members Tell of Lives, Hates and Fears; City's 'Shook-Up' Youth: Their Lives are Found Lacking in the Basic Securities." New York Times 25 March 1958: 1.
This article, one of a seven-part series written in the midst of gang-related turmoil in New York and Los Angeles in the 1950's, examines the conditions that lead to street gang formation and the deterioration of the neighborhoods they control. First is the case of 17-year-old Vincent, the immigrant Puerto Rican leader of one of New York's street gangs. He explains that his primary motivation for involvement, like many others his age, is safety and security. The members of Vincent's gang are highly distrustful of those outside of the gang, relying instead on only those companions who have proven their loyalty. Vincent also claims that Puerto Ricans and other non-natives are subject to unfair treatment at the hands of their so-called protectors: the police. The local police are no more welcoming of the Puerto Rican presence than the local natives, and with even a minor smudge on one's record, a decent job and a fair living become almost entirely out of reach. Vincent himself was prevented from graduating high school by a false conviction from the police. The article also uses the case study of Tommy, another gang leader, who sees the Army as the only guaranteed way of escaping the dangerous neighborhoods where the gangs reign. He explains that gangs are places where his presence is not only valued but respected--in stark contrast to places like school, where he is struggling to succeed, and home, where instability and deprivation are ever-present.
The racism found even within the police force can be seen in West Side Story. Lieutenant Schrank's biased treatment of the gangs shows clear preference for the white Jets. He not only lets them get away with more trouble, but he agrees with them that the Sharks are encroaching on the Jets' territory. He is not entirely respectful or fair to either group, but he saves the majority of his abuse for the Puerto Ricans. In the article, Tommy mentions his dislike of school, although it is one of the few places in the neighborhood that has been declared "neutral territory." The situation is the same in the film--the high school (where the dance is held) is the exclusive turf of neither gang since they have no choice but to coexist on its grounds. The gang members need for security is understandable, as they are always at risk of attack at the hands of the rival gang. The opening scene of West Side Story illustrates this well--the power switches hands numerous times depending on which group's members outnumber the other's. The members almost always travel in groups of two, three, or more, as the most precarious situation one can be caught in is being alone and cornered by the rival gang, as happens to Baby John, who narrowly escapes.
The parallels between West Side Story and Romeo and Juliet, while numerous, must stop somewhere. An alternative explanation to the theory that Riff and Tony had a lovers bond is the idea that they had a brotherly bond instead. In such a relatively closed community as the one in which the Jets and the Sharks reside, loyalties are paramount in importance. And while the gang loyalties are obvious to anyone at even a cursory viewing of the film or play, Riff and Tony's loyalty to each other is deeper. After all, Riff has been living with Tony's family for four and a half years, and having abandoned his own family, Riff embraces Tony as a surrogate brother. As Riff explains to Tony, "Without a gang, you're an orphan. With a gang, you walk in twos, threes, fours, and when your crew is the best, when you're a Jet, you're out in the sun... ." Tony responds and demonstrates his own loyalty to Riff by agreeing to attend the dance in support, where he meets and falls in love with Maria, which will eventually lead to his and Riff's deaths and ensure that (like Romeo and Juliet) the story ends in tragedy.
Emotional Bridges to Puerto Rico discusses, through a primary case study, the migration of Puerto Ricans to the mainland United States, as well as what is known as "reverse migration," the event in which Puerto Rican migrants move back to their home island in response to the emotional and economic challenges of assimilation. Many Puerto Ricans move the U.S. in search of career advances; there is a general outlook among Puerto Ricans themselves that their country is so low (relatively speaking) on the labor market totem pole that the concept of having specific entry-level jobs is minimal or non-existant and upward mobility is only available in the U.S. Even once in the U.S. (which has no official policy regarding multiculturalism), many Puerto Ricans continue to view themselves as outsiders who steadfastly retain their cultural heritage and the disadvantages of being an immigrant, despite their citizenship and sheer numbers among the population. Being in the states, and having a U.S. passport, however, is guarantee any foreigner's acceptance into society. As Aranda describes succinctly, "Puerto Ricans' feelings of membership into mainland communities are fractured by the ethnoracist contexts that often receive them" (175).
Despite these challenges, however, almost half of all Puerto Rican nationals reside in the mainland United States. The economic and professional goals that cannot be reached in the stifled economy of Puerto Rico is sufficient motivation for many to abandon their homeland, strain ties with family and friends remaining behind, and venture to the U.S. in an attempt to find success. These themes appear over and over again throughout West Side Story, and the optimism associated with new opportunities and the hope for success is personified in the character of Anita. She has turned her back on the hopelessness of Puerto Rico and sees the U.S. as the land of dreams, like so many other immigrants before her. During the song "America," which is sung primarily by Anita and the other Shark girls, she speaks of all the things Puerto Rican immigrants hope to find in America and leave behind on the island. Disease, poverty, underdevelopment and crime in Puerto Rico are just a few of the reasons she prefers the conveniences of the technologically advanced and highly industrialized New York. Verbally opposing her, however, is Bernardo, who sings of the limitations a Puerto Rican immigrant faces in the U.S.--primarily the difficulties in finding jobs and housing due to white racism, and the resulting need to defend yourself at any costs.
Kauffmann, Stanley. "The Asphalt Romeo and Juliet." New Republic 145.17 (1961): 28-29.
This review of West Side Story praises the adaptation from the stage to the screen, even going so far as to name it as "the best film musical ever made" (28). The film was shot in 70mm film to be displayed on an extra wide screen, which Kauffmann agrees is to the benefit of all--this size can fully capture the color, vivacity, and action of such a vibrant story. The review notes the depth and life given to the film by not only the acting but also the crisp editing used to juxtapose characters or scenes to create conflict--particularly when the rival gangs encounter one another, such as the opening sequence and the dance at the gym. Kauffmann does, perhaps prematurely and unfairly, write off West Side Story as having no sociological value; instead of being at least in part a cultural study, he claims that its value is solely artistic. Kauffmann's commentary continues in praise of the film's choreography, which are more than just an artistic device, but a manner in which to tell the story such that the two become inseparable. No one can think of West Side Story without thinking of snapping fingers and the energetic, passionate jumps of the "Cool" sequence. The dancing is more than just ballet, as it is representative of the attitude and confidence that all the gang members seem to possess, and even the stylized choreography reflects each individuals group membership and mirrors the close-knit relationships that all the followers have with each other and their gang leader.
In addition to the romance, the story has strong elements of realism. The story rejects the traditional Hollywood musical model, as it has very few upbeat moments; most of the film is spent in the struggle to survive--which is lost for a few notable characters. The theme of hopelessness is prevalent, and despite the intentions that the rumble between the Jets and the Sharks be (relatively) casualty free and will settle their turf war once and for all, it is obvious that they will continue the struggle for power, as the characters have so little power in other aspects of their lives. These gang members are all products of their environment, and disadvantaged parents are likely to have disadvantaged children, who in turn become disadvantaged and jaded adults on the "bottom rung of the social ladder" (225). Their parents are notably absent from the story line, are never seen, and are only briefly mentioned in song by the Jets and in a minor argument between Bernardo and Anita. Their absence from the scene mirrors their absence from the teenagers' lives, which shows the gang members isolation and explains their general rejection of authority. Both gang groups have come to distrust figures of authority, such as Officer Krupke, and outwardly ignore all pleas by the "peacekeeping" characters (such as Krupke and Doc) to end the fighting. The feeling that one can't rely on any of the people who would normally be expected to help you, like parents and police officers, led to the adoption of a "fend for yourself" attitude by the Jets and the Sharks, as was common among immigrant groups.
Fighting with rival gang members was commonplace, but were often limited to weapons of brute force like bats and knives rather than automatic weapons. such is the case in West Side Story, where the rumble is agreed to be a fistfight, until each combatant reveals his own hidden knife. These fights were seen as assertions of one's bravery, dominance, and loyalty, and to shy away from a fight was downright dishonorable. And while many expected that these teens, like the characters of West Side Story, would be locked into lives of violence and crime, many of their stories have happier endings that include full-time jobs, homes, and cared-for families. The lasting impact of the strife and violence from their stories is evident when one simply examines the success of a film like West Side Story. The tale of rivalry, unreasonable hatred, and overcoming oppression is as salient today as it was in the 1950's.
Elliott, Stuart. "Advertising Elaborate Musical Commercials are Making a Comeback." New York Times 14 July 2000: C5.
In 2000, the clothing company Gap Inc. launched a new advertising campaign based on the music and choreography of West Side Story, in an attempt to use the success of the Broadway play and the musical film to push their new, more colorful, vintage-like styles. The technique of using old musicals as insipiration was an interesting change from the straightfoward, information-laden advertising that preceded the trend towards commericals as entertainment. Three such West Side Story-based Gap advertisements were created, in which the two New York City gangs were replaced with groups of Gap khakis and jeans wearers. The commercials recreated the most famous scenes from the musical: the "America" and "Cool" numbers as well as the mambo dance-off by both groups at the high school gym. The choreograpy is the same as that which was used for the original film. There is hope by the creators of these ads that they will appear to a broad audience of both older and younger potential customers, the former of which will remember West Side Story from their younger days. The lasting influence of West Side Story can still be found in modern media.
New York City has always been a major draw for foreigners hoping to migrate to the United States and gain the benefits of an "American" life. But why New York? True, it is the most populous city in the country, but this is more likely to be the result of the influx of immigrants than the cause. This article examines the unique features of New York that draws in immigrants and lends itself to being ultimately shaped by them. The East coast was the easiest place for immigrants coming from across the Atlantic, notably Europeans, to enter the country; Ellis Island, specifically, accounted for most European's point of entry in the 1800's and early 1900's. The article also examines the fact that Puerto Rican-born New Yorker's are overwhelmingly assigned the immigrant identity, although it is not technically accurate. Puerto Ricans are, by birth, American citizens, but popularly classified as immigrants due to a combination of their minority status and physical, lingual, and cultural differences from "mainland" Americans. Before the term Hispanics became popularized to refer to all people with a background in a Spanish-speaking country, Puerto Ricans were singled out as an immigrant group with particular prominence in New York, and were therefore subject to extreme prejudice.