What is the old version of the West Side Story?
Ah, the “old version” of West Side Story—also known as “that time Shakespeare tried to write a musical but forgot the jazz hands.” Yes, we’re talking about Romeo and Juliet, the 16th-century drama that’s basically West Side Story if you replaced New York City street gangs with people in tights, swapped finger snaps for swords, and added 400% more questionable balcony decisions. Spoiler alert: neither ends with a group dance number.
Romeo, Juliet, and the OG Jets vs. Sharks
Instead of the Jets and Sharks duking it out over turf, you’ve got the Montagues and Capulets feuding because… someone threw a side-eye at a Renaissance fair? Same energy, fewer finger snaps. Romeo is Tony if Tony were overly poetic and terrible at faking his death. Juliet? She’s Maria, but with a fondness for soliloquies and a slightly better survival rate (depending on which act you’re in).
Key Differences (Besides the Lack of Accordions)
- No “Cool” gang meetings: Instead of choreographed rumbles, they just stab each other. Progress!
- Friar Laurence > Doc: Swap a drugstore owner for a monk who’s way too into experimental potions.
- Balcony scenes: Equally awkward, but with more iambic pentameter and fewer fire escapes.
So, technically, Romeo and Juliet is the “old version” of West Side Story, but let’s be real: it’s missing Bernstein’s score, so it’s like a pizza without cheese. Still tragic, though. And honestly, could Mercutio do the mambo? Unlikely. He’d probably trip on his cape.
Bonus trivia: The 1961 film adaptation of West Side Story is technically “old” now too. Let that sink in while you hum “America” and question your life choices.
Where can I watch the original West Side Story?
Streaming Services: The Jets vs. Sharks of Modern Convenience
If you’re ready to time-travel to 1961 without accidentally stepping on a butterfly and altering the space-time continuum, Disney+ is your golden ticket. Yes, the same place that brought you Baby Yoda and singing snowmen now hosts the finger-snapping, skirt-twirling glory of the original West Side Story. Rumor has it the Sharks and Jets are still arguing over whose subscription plan has better perks.
Digital Rentals: For the “I Need It Now, But Also Maybe Later” Crowd
Prefer to rent? Amazon Prime Video, Apple TV, and Google Play have your back, like a slightly overeager dance partner. For roughly the price of a latte (or two if you’re fancy), you can stream Tony and Maria’s doomed romance in HD. Bonus: No one will judge you for rewinding “America” six times. Pro tip: Check if your remote control has a “mambo” button.
- Physical media loyalists: Dust off your Blu-ray/DVD player (yes, it still works). The original film is available on disc, often bundled with enough special features to make you feel like a Broadway historian. Or at least someone who knows what a “rumble” really entails.
Libraries & Niche Platforms: Because Free Is the Best Price
Check your local library—yes, libraries still exist, and they’re basically temples of free borrowing. Some even offer digital loans via Kanopy or Hoopla, so you can watch Maria belt “I Feel Pretty” while wearing pajamas. Just don’t blame us if you start snapping at strangers in the produce aisle.
What was the problem with the West Side Story in 1961?
What was the problem with the West Side Story in 1961?
When “Diversity” Meant “White People in Brownface”
Ah, 1961. A time when Hollywood’s idea of “cultural sensitivity” was slapping some bronzer on a white actor and calling it a day. West Side Story, despite its groundbreaking music and tragic romance, stumbled face-first into the Puerto Rican-shaped pothole of casting. Natalie Wood (a very, very white actress) played María, while nearly all the Shark gang members were played by non-Latino actors. Even George Chakiris, the Greek-American actor playing Bernardo, somehow became the “authentic” face of Puerto Rican pride. The logic? Unclear. The cringe? Eternal.
Accent Crimes and Misfired Stereotypes
The film didn’t stop at questionable casting. It doubled down with dialect choices that sounded like someone fed a parrot a dictionary of Spanglish clichés. The Puerto Rican characters swung between:
- “We speak mysterious foreign” (heavy, exaggerated accents in serious scenes)
- “We’re sassy plot devices” (cartish stereotypes during comic relief)
Meanwhile, Rita Moreno, an actual Puerto Rican actress stuck playing Anita, later admitted she felt pressured to “be more ethnic”—a request as absurd as asking a flamingo to “be more pink.”
The Island of Puerto Rico Responds (Spoiler: They Were Not Flattered)
Puerto Rican audiences, upon seeing their culture filtered through a Hollywood kaleidoscope of clichés, responded with a collective “¿Qué carajo?” Critics called out the film’s exoticization and erasure of actual Puerto Rican voices. Meanwhile, the film’s creators patted themselves on the back for being “progressive.” It’s like serving a burnt casserole and expecting a Michelin star—bold move, folks. The takeaway? Even masterpieces can have footnotes written in comic sans.
Is the remake of West Side Story as good as the original?
Let’s address the elephant in the rumble: comparing Spielberg’s 2021 glitzy reheat to the 1961 classic is like arguing whether a croissant is better than a bagel. Both are carbs, but one’s stuffed with *~innovation~* and the other’s a nostalgic brick of charm. The original West Side Story is a Technicolor fever dream where everyone dances in rage-flared jeans and finger-snaps could curdle milk. The remake? It’s got Spielberg’s magic wand, bone-rattling salsa rhythms, and a cast so talented you’ll wonder if they’ve secretly replaced your morning coffee with Broadway espresso.
But Wait—Can You Improve perfection? (Spoiler: Yes, But Also No)
Purists clutching their pearls (or fainting couches) might argue the original’s campy sincerity can’t be replicated—and they’re not wrong. The 1961 Jets could start a dance battle in a junkyard and somehow make grease stains look haute couture. Meanwhile, the remake swaps “vaguely ethnic casting” for actual Latinx actors, giving Anita’s fiery soliloquies the cultural oomph they deserved. Bonus points: Rita Moreno, who won an Oscar in 1961, returns as Valentina. That’s like having a unicorn cameo in your second rainbow parade.
- The Riff-Off: Original’s “Cool” = anxious jazz hands in a garage. Remake’s “Cool” = Mike Faist serving brooding intensity with a side of existential crisis.
- Runtime: Both long enough to question why sharks don’t sing in musicals.
- Visuals: 1961: “We have 10 cents and a dream.” 2021: “We have demolition derbys and drones.”
Ultimately, asking which is “better” is like choosing between time-traveling to Woodstock or getting front-row tickets to a Beyoncé concert. The original is a time capsule of golden-age Hollywood cheese; the remake is a lush, politically aware love letter that’s less “I Feel Pretty” and more “I Feel Complex Societal Emotions.” Watch both, then spend three hours debating whether Ansel Elgort pirouetting in 4K is worth Russ Tamblyn’s 1961 *~bad boy ballet~*. Warning: Side effects may include spontaneous street-dancing and whispering “Maria” threateningly at pigeons.
