The Jets start off slathering paint on the mural of a Puerto Rican flag. As the boys move and groove to their inner thug, singing “Jet Song” , Justin Peck’s choreography plays off the hypnotic, limb-thrusting, rhythm-of-the-city athleticism of Jerome Robbins’ original dances, and, working with his dynamic cinematographer Janusz Kaminski, has the camera moves to match.
In the Oscar-winning 1961 film version, adapted from the 1957 Broadway show, Maria was mostly a perky, saintly innocent, but here she gets a spitfireher a touch of fierceness and a boldly chiseled stare of longing.Story,” they’re on the fire escape, in vintage Romeo-and-Juliet-of-the-tenement fashion, andstages their duet with an intimate choreographed flow, so that the words seem to spin and dance. Their love is an oasis of hope in the concrete jungle.
And those are problems I don’t think the new version completely solves. Given how Kushner has retooled and enriched the script — Tony and Maria’s romance, for instance, isn’t the melodramatic secret it was before — I was surprised to see that the rumble climaxes in the same old hyped-up but unconvincing way. And once that happens, you feel an energy leak out of the movie.rousing
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