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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.
Negron-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.
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.