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Ernest Lehman (screenplay)
Arthur Laurents (book)
(more)
23 December 1961 (Japan) more
"BEST PICTURE!" Winner of 10 Academy Awards! - 1961 (post-Oscar) more
Musical about two youngsters from rival NYC gangs who fall in love. full summary | full synopsis
Won 10 Oscars. Another 15 wins & 6 nominations more
Adam Lambert Defends His Glittery Image: The MTV News Quote Of The Day
(From MTV Newsroom. 9 November 2009, 1:47 PM, PST)
This Week on Stage: 'The Understudy,' 'Idiot Savant,' and 'Nightingale'
(From EW.com - PopWatch. 7 November 2009, 5:00 AM, PST)
It could hardly have failed more (261 total)
Directed by | |||
| Jerome Robbins | |||
| Robert Wise | |||
Writing credits | ||
| Ernest Lehman | (screenplay) | |
| Arthur Laurents | (book) | |
| Jerome Robbins | conception & | |
| William Shakespeare | uncredited (play "Romeo and Juliet") | |
Produced by | |||
| Saul Chaplin | .... | associate producer | |
| Robert Wise | .... | producer | |
| Walter Mirisch | .... | executive producer (uncredited) | |
Original Music by | |||
| Leonard Bernstein | |||
Cinematography by | |||
| Daniel L. Fapp | (director of photography) | ||
Film Editing by | |||
| Thomas Stanford | |||
Production Design by | |||
| Boris Leven | |||
Set Decoration by | |||
| Victor A. Gangelin | (as Victor Gangelin) | ||
Costume Design by | |||
| Irene Sharaff | |||
Makeup Department | |||
| Emile LaVigne | .... | makeup artist (as Emile La Vigne) | |
| Alice Monte | .... | hair stylist | |
Production Management | |||
| Allen K. Wood | .... | production manager | |
| Hubert Fröhlich | .... | production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Robert E. Relyea | .... | assistant director | |
| Jerome M. Siegel | .... | second assistant director | |
Art Department | |||
| Sam Gordon | .... | property master | |
| Maurice Zuberano | .... | production artist (as M. Zuberano) | |
| Leon Harris | .... | production illustrator (uncredited) | |
| William Maldonado | .... | construction coordinator (uncredited) | |
Sound Department | |||
| Fred Lau | .... | sound | |
| Gilbert D. Marchant | .... | sound editor | |
| Murray Spivack | .... | sound | |
| Vinton Vernon | .... | sound | |
| Richard Gramaglia | .... | sound mixer (uncredited) | |
| Fred Hynes | .... | sound recording supervisor (uncredited) | |
| Gordon Sawyer | .... | sound supervisor (uncredited) | |
Visual Effects by | |||
| Saul Bass | .... | visual consultant | |
| Linwood G. Dunn | .... | photographic effects (as Linwood Dunn) | |
Stunts | |||
| Eli Bo Jack Blackfeather | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Linwood G. Dunn | .... | title photographer (uncredited) | |
| John Finger | .... | camera operator: title sequence (uncredited) | |
| Ernst Haas | .... | still photographer (uncredited) | |
| Louis Kulsey | .... | dolly grip: title sequence (uncredited) | |
Costume and Wardrobe Department | |||
| Bert Henrikson | .... | wardrobe | |
Editorial Department | |||
| Marshall M. Borden | .... | assistant editor | |
Music Department | |||
| Richard Carruth | .... | music editor | |
| Saul Chaplin | .... | music supervisor | |
| Johnny Green | .... | conductor | |
| Johnny Green | .... | music supervisor | |
| Irwin Kostal | .... | music supervisor | |
| Irwin Kostal | .... | orchestrator | |
| Sid Ramin | .... | music supervisor | |
| Sid Ramin | .... | orchestrator | |
| Stephen Sondheim | .... | lyricist | |
| Robert Tucker | .... | vocal coach (as Bobby Tucker) | |
| Betty Walberg | .... | music assistant | |
| Pete Candoli | .... | musician (uncredited) | |
| Jack Dumont | .... | musician (uncredited) | |
| Walter A. Gest | .... | production music playback operator (uncredited) | |
| Shelly Manne | .... | musician (uncredited) | |
| Red Mitchell | .... | musician (uncredited) | |
| Albert T. Viola | .... | musician (uncredited) | |
Other crew | |||
| Tommy Abbott | .... | dance assistant | |
| Margaret Banks | .... | dance assistant | |
| Saul Bass | .... | title designer | |
| Robert E. Griffith | .... | stage producer | |
| Howard Jeffrey | .... | dance assistant | |
| Tony Mordente | .... | dance assistant | |
| Harold Prince | .... | stage producer (as Harold S. Prince) | |
| Jerome Robbins | .... | choreographer | |
| Stanley Scheuer | .... | script supervisor (as Stanley K. Scheuer) | |
| Roger L. Stevens | .... | produced by arrangement with | |
| Hal Bell | .... | assistant choreographer (uncredited) | |
| John Flynn | .... | script supervisor (uncredited) | |
| Gerald Freedman | .... | assistant: Mr. Robbins (uncredited) | |
| Peter Gennaro | .... | co-choreographer (uncredited) | |
| Eliot Hyman | .... | production executive (uncredited) | |
| Howard Jeffrey | .... | assistant choreographer: Mr. Robbins (uncredited) | |
| George Lake | .... | assistant stage manager: stage production (uncredited) | |
| Harold Mirisch | .... | production executive (uncredited) | |
| Marvin Mirisch | .... | production executive (uncredited) | |
| Howard Newman | .... | press representative (uncredited) | |
| Arthur Rubin | .... | assistant stage manager: stage production (uncredited) | |
| Wallace Siebert | .... | assistant: Mr. Gennaro (uncredited) | |
| Ray Stark | .... | production executive (uncredited) | |
| Lee Theodore | .... | assistant choreographer (uncredited) | |
152 min
Colour (Technicolor)
2.20 : 1 more
4-Track Stereo (35 mm magnetic prints) | 70 mm 6-Track (Westrex Recording System) (70 mm prints) | Mono (35 mm optical prints)
USA:Approved (certificate #19949) | West Germany:12 | Portugal:M/12 | Netherlands:MG6 | Brazil:Livre | Finland:K-12 | Sweden:11 (re-rating) (1970) | Sweden:15 (original rating) | Ireland:PG | Argentina:Atp | Australia:PG | Peru:PT | UK:A (original rating) | UK:PG (video rating) (1986)
The second highest grossing film of 1961, coming in just behind One Hundred and One Dalmatians (1961). more
Continuity: Riff changes position in his chair between shots when the Jets and Sharks are sitting down for the War Council. more
[first lines]
[the Jets dance across the streets of New York, eventually coming to a playground where they toss around a basketball. The ball is intercepted by Bernardo, leader of the Sharks]
Riff:
[snaps fingers at Bernardo] Come on.
[Bernardo drops the ball, Riff picks it up]
Riff:
Beat it.
more
Referenced in "Ugly Betty: East Side Story (#1.23)" (2007) more
One Hand, One Heart more
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Note the opening credits. I use the term "credits" loosely, because there aren't any. There's just a reddish orangish title card which changes colour ever so slowly while they play the overture. Now THAT takes courage. Obviously Wise was certain that Bernstein's music provides so much interest on its own that it would have been redundant to do anything but play it. And he was right. Bernstein simply wrote better music than any other Broadway composer of his day - much better music - and whether or not "West Side Story" contains his very best music, it's his very best musical. It would take a special effort to make a bad movie out of it.
In fact Wise handles things very well. We get the same silent sweep over New York that he later gave us over Austria in "The Sound of Music" - the sweep that says, "I'm going to show you New York" (or Austria, as the case may be). The filming and the colours are stark and intentionally artificial: it does feel as if we are being shown a city. Performances are all fine.
Of course, most of what makes this film great was already present in the musical. But what's wrong with that? Surely Wise shouldn't HAVE to spin straw into gold. A wise man - sorry - just accepts it with good grace when he is handed gold to begin with.