Movie Dvd When Marnie Was There BoatRobbins, one of the most original choreographers in Broadway history, at first refused to work on the film unless he could direct it. Producer Walter Mirisch wanted a steady Hollywood hand, and chose Robert Wise, the editor of Citizen Kane and a studio veteran. Robbins agreed to direct the dancing, and Wise would direct the drama. And then the problem became that Robbins simply could not stop directing the dancing He didnt know how to say cut, one of the dancers remembers in a documentary about the making of the film. Robbins ran up so much overtime he was eventually fired, but his assistants stayed, and all the choreography is his. Certainly the dance scenes, so robust, athletic and exhilarating, play differently after youve seen the doc. Robbins rehearsed for three months before the shooting began, then revised everything on the locations, sometimes many times. His choreography was so demanding that no scene was ever filmed all the way through, and dancers in the Cool number say they never before and never again worked harder on anything. There were injuries, collapses, setbacks. Look at a brief scene where a gang runs toward a very high chain link fence, scales it bare handed, and drops down inside a playground. Thats a job for one stuntman, not a dozen dancers, and we can only guess how many takes it took to make it look effortless and in sync with the music. As for the music itself Usually, says Rita Moreno, dancers work in counts of fours, or sixes, or eights. Then along comes Leonard Bernstein with his 54 time, his 68 time, his 2. It was just crazy. Its very difficult to dance to that kind of music, because it doesnt make dancer sense. And yet Robbins perfectionism and Bernsteins unconventional rhy thms created a genuinely new kind of movie dancing, and it can be said that if street gangs did dance, they would dance something like the Jets and the Sharks in this movie, and not like a Broadway chorus line. Advertisement. The movie was made fresh on the heels of the enormous Broadway success of the musical, and filmed partly on location in New York it opens on the present site of Lincoln Center, partly on sound stages. There was controversy over the casting of Natalie Wood as Maria she was not Puerto Rican, her voice was dubbed by Marnie Nixon, she was only a fair dancer and some indifference to Richard Beymer, whose Tony played more like a leading man than a gang leader. They didnt get along in real life, we learn, but Wood does project warmth and passion in their scenes together, and a beauty and sweetness that would be with her all through her career. What shows up Wood and Beymer is the work of Moreno and Chakiris, as the Puerto Rican lovers Anita and Bernardo. Little wonder they won supporting Oscars and the leads did not. Moreno can sing, can dance, and exudes a passion that brings special life to her scenes. For me, the most powerful moments in the movie come when Anita visits Docs candy store to bring a message of love from Maria to Tony and is insulted, shoved around and almost raped by the Jets. That leads her, in anger, to abandon her romantic message and shout out that Maria is dead setting the engine of Shakespeares last act into motion in a way that makes perfect dramatic sense. To study the way she plays in that scene is to understand what Woods performance is lacking. Kael is right about the dialogue. Its mostly pedestrian and uninspired it gets the job done and moves the plot along, but lacks not only the eloquence and poetry of Shakespeare, but even the power that a 2. ONeill or Williams would have brought to it. Compare the balcony scene in West Side Story with the one filmed six years later by Franco Zeffirelli in Romeo and Juliet, and you will find that it is possible to make a box office hit while still using great language. Advertisement. What I loved during West Side Story, and why I recommend it, is the dancing itself. The opening finger snapping sequence is one of the best uses of dance in movie history. It came about because Robbins, reading the screenplay, asked, What are they dancing about The writer Laurents agreed You couldnt have a story about murder, violence, prejudice, attempted rape, and do it in a traditional musical style. So he outlined the prologue, without dialogue, allowing Robbins to establish the street gangs, show their pecking order, celebrate their swagger in the street, demonstrate their physical grace, and establish their hostility all in a ballet scored by Bernstein with music, finger snapping and anger. The prologue sets up the muscular physical impact of all of the dancing, and Robbins is gifted at moving his gangs as units while still making every dancer seem like an individual. Each gang member has his own style, his own motivation, and yet as the camera goes for high angles and very low ones, the whole seems to come together. I was reminded of the physical choreography in another 1.