Blindspotting: West Side Story and 42nd Street

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One of the reasons why you may not often hear as much about plot or character when discussing musicals is that they tend to use age old stories at their core. More often than not it’s all about those tunes and performances, so those familiar tales are used to provide a familiar landscape from which to launch the song and dance routines. As I sat down to catch up with a couple of classic musicals with well-worn structures – a re-telling of Romeo and Juliet set in the big city and a backstage look at the lead up to a performance’s premiere with a big break for a young ingenue – I wondered if either of these tales could be given new life via more than just their music and production numbers…While each brought moments of wonderful creativity and sparkling entertainment (in different amounts), the stories were, for the most part, still born.

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That’s not enough to dismiss either film though. In particular, West Side Story is a monument to production design and choreography. Just about every shot in the film is packed with colour from mixed pastels to bright primaries to everything in between in just the right combinations. As a series of stills it would make for an incredible photography exhibit. Of course, much of the secret to the film is its motion in the form of Jerome Robbins’ choreography (he’s also credited here as a co-director along with the master of many genres Robert Wise). It feels novel and exciting even 50 years down the road. It’s sharp and quick and powerful – in short, it’s incredibly physical. It’s an expression of the character’s youthful energy and their inability to find a place to put it, and so it ends up working perfectly during the confrontation and fight scenes where the dancing is essentially the fighting itself. If not every tune fully landed with me, the vast majority did and mostly kept me with the 2 and a half hour runtime. Mostly.

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Easy Riders, Raging Bulls: Bob & Carol & Ted & Alice (1969)

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Based on my superficial knowledge of Bob & Carol & Ted & Alice before watching it, I expected a swinger sex farce, taking advantage of the loosening mores and relaxed content restrictions of the late ’60s to portray two pairs of married friends who indulge in becoming something more. But it ended up being a lot more than that, to my pleased surprise.

bobcarol-retreat.jpgBob and Carol (Robert Culp and Natalie Wood) attend a self-discovery retreat, initially because Bob intends to make a film about it, but after a revelatory and emotional group counseling session, they become believers and want to share their new-found enlightenment with their best friends Ted and Alice (Elliott Gould and Dyan Cannon). But Ted and Alice aren’t quite ready for their friends’ touchy-feely gospel and being told that they should live in total openness and truth makes them more uncomfortable than anything. Here I expected the film to side with Bob and Carol unequivocally and paint Ted and Alice as hopelessly old-fashioned and out of touch. But actually, the film is more balanced and thoughtful than that.

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