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West Side Story: The Jets, the Sharks, and the Making of a Classic
A captivating, richly illustrated full account of the making of the ground-breaking movie classic
West Side Story
(1961).
A major hit on Broadway, on film West Side Story became immortal-a movie different from anything that had come before, but this cinematic victory came at a price. In this engrossing volume, film historian Richard Barrios recounts how the drama and rivalries seen onscreen played out to equal intensity behind-the-scenes, while still achieving extraordinary artistic feats.
The making and impact of West Side Story has so far been recounted only in vestiges. In the pages of this book, the backstage tale comes to life along with insight on what has made the film a favorite across six decades: its brilliant use of dance as staged by erstwhile co-director Jerome Robbins; a meaningful story, as set to Leonard Bernstein and Stephen Sondheim's soundtrack; the performances of a youthful ensemble cast featuring Natalie Wood, Rita Moreno, George Chakiris, and more; a film with Shakespearean roots (Romeo and Juliet) that is simultaneously timeless and current. West Side Story was a triumph that appeared to be very much of its time; over the years it has shown itself to be eternal.
A major hit on Broadway, on film West Side Story became immortal-a movie different from anything that had come before, but this cinematic victory came at a price. In this engrossing volume, film historian Richard Barrios recounts how the drama and rivalries seen onscreen played out to equal intensity behind-the-scenes, while still achieving extraordinary artistic feats.
The making and impact of West Side Story has so far been recounted only in vestiges. In the pages of this book, the backstage tale comes to life along with insight on what has made the film a favorite across six decades: its brilliant use of dance as staged by erstwhile co-director Jerome Robbins; a meaningful story, as set to Leonard Bernstein and Stephen Sondheim's soundtrack; the performances of a youthful ensemble cast featuring Natalie Wood, Rita Moreno, George Chakiris, and more; a film with Shakespearean roots (Romeo and Juliet) that is simultaneously timeless and current. West Side Story was a triumph that appeared to be very much of its time; over the years it has shown itself to be eternal.
232 pages, Hardcover
First published June 30, 2020
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Displaying 1 - 24 of 24 reviews
November 13, 2020
"When you're a Jet, you're a Jet all the way -
from your first cigarette, 'til your last dyin' day!"
-- music and lyrics by Bernstein & Sondheim
I love movies - and, by obvious extension, reading all about them - but musicals aren't exactly my favorite of the genres. (I think they tend to work better as a theater production, where the singing and instrumentation are live, and all involved have to truly 'bring it' to connect with an audience.) However, I've appreciated West Side Story since first viewing it on a VHS tape in junior high over thirty years ago, likely because it is centered on rough-and-tumble teenage protagonists and a youth culture in a recognizable New York City setting. For fans of the Romeo & Juliet-inspired story - or just to learn exactly what it takes to bring a movie to the masses, starting at day one - this new book by author Barrios is simply not to be missed. Although it began life as a hit Broadway show in 1957 - created by a true perfect storm of talented collaborators consisting of composer Leonard Bernstein, lyricist Stephen Sondheim, writer Arthur Laurents, and choreographer Jerome Robbins - the main focus of the text is centered on the blockbuster and Oscar-winning film version from 1961. Casting difficulties, filming problems, and all sorts of expected and unexpected behind-the-scenes issues are presented in comprehensive (but not lurid) detail, accompanied by a number of rare color and b&w photographs from the production. Classic movies arguably deserve the sort of attention that the author really delivers here - this book was both highly entertaining AND informative to read.
from your first cigarette, 'til your last dyin' day!"
-- music and lyrics by Bernstein & Sondheim
I love movies - and, by obvious extension, reading all about them - but musicals aren't exactly my favorite of the genres. (I think they tend to work better as a theater production, where the singing and instrumentation are live, and all involved have to truly 'bring it' to connect with an audience.) However, I've appreciated West Side Story since first viewing it on a VHS tape in junior high over thirty years ago, likely because it is centered on rough-and-tumble teenage protagonists and a youth culture in a recognizable New York City setting. For fans of the Romeo & Juliet-inspired story - or just to learn exactly what it takes to bring a movie to the masses, starting at day one - this new book by author Barrios is simply not to be missed. Although it began life as a hit Broadway show in 1957 - created by a true perfect storm of talented collaborators consisting of composer Leonard Bernstein, lyricist Stephen Sondheim, writer Arthur Laurents, and choreographer Jerome Robbins - the main focus of the text is centered on the blockbuster and Oscar-winning film version from 1961. Casting difficulties, filming problems, and all sorts of expected and unexpected behind-the-scenes issues are presented in comprehensive (but not lurid) detail, accompanied by a number of rare color and b&w photographs from the production. Classic movies arguably deserve the sort of attention that the author really delivers here - this book was both highly entertaining AND informative to read.
August 1, 2020
Robert Barrios’s book West Side Story: The Jets, the Sharks, and the Making of a Classic is an absolutely fascinating look at a classic, iconic film. Filled with gorgeous pictures—both stills from the film and candid shots—Barrios has done copious research and filled the book with incredible tidbits that many, if not most, of us never knew. Who knew Mary Tyler Moore auditioned for Maria but was deemed too old? Who knew that Mayberry RFD star Ken Berry was an accomplished dancer but not right for the part of Tony? With great detail, Barrios takes us through the planning, the casting, and the filming of West Side Story. Then he finishes with critical reaction, awards earned, and finally a comparison of the film to the original stage play source and a link to the newest incarnation, the Stephen Spielberg film due out after the Covid-19 crisis allows moviegoers to return to theaters. Barrios’s tale of the dance icon Jerome Robbins is enlightening to a fault. Robbins apparently approached directing the film with the same precision he put into his dances for the original production of the show and for his ballets. He took take after take after take, running the film into extreme budget deficits and exhausting his dancers, while co-director Robert Wise, a respected Hollywood director and who would go on to direct The Sound of Music, just looked on and said very little. Wise, for whatever reason, was willing to let Robbins take charge, and the dancers were willing to take abuse simply to work with such a talented choreographer. Eventually, however, producers pulled the plug on Robbins, and Wise finished the film. The story of that is compelling. Interestingly, despite the fact that Barrios seemed to be accurate with all he told, at one point he raises the fact that the producers refused to give Robbins a directing credit, and yet in the titles on the film, it says “Directed by Robert Wise and Jerome Robbins.” So that bit of reporting left me wondering. But reading all the rest of the book is a treat, not only for West Side Story lovers but for film addicts, as well.
January 10, 2021
An informative and visually stunning book detailing the history, production, and legacy of West Side Story. WSS is a huge favorite of mine, so I found all the tales and tribulations from behind the scenes to be fascinating. It's in a cofee-table book style, with lots of gorgeous full-color photographs. I do wish more attention had been paid to the show's legacy with the Latinx and specifically Puerto Rican communities, especially with the history of brownface used across productions, but ah well. For fans of the stage show or movie, an engaging look into the classic.
P.S. I am inordinately proud of the fact that I already knew every single change from the 'Differences between Broadway Show and Movie' chapter.
P.S. I am inordinately proud of the fact that I already knew every single change from the 'Differences between Broadway Show and Movie' chapter.
June 2, 2021
GEE OFFICER KRUPKE, KRUP YOU!
*if you don't get the reference, watch the movie and read the book
*if you don't get the reference, watch the movie and read the book
October 28, 2025
Basically this is a picture book with longer-than-normal text: the photos are great but the writing is simplistic with content that's repetitive and uneven. It's not the book I expected it to be--there aren't a lot of details about some aspects of West Side Story, while others get mentioned again and again and again. Meanwhile, the author brings in all sorts of his own stilted commentary on the original musical, the movie, and other musicals (claiming Gypsy equaled West Side Story? Seriously?)
The writer places West Side Story at or near the top of the greatest movie musicals. While I love the film and put it near the top of my favorites, you can't overlook the miscasting of the two lead characters and the fact that they don't sing their own songs. Never has such a great movie had lead actors so wrong for the roles.
While he does allude to that, he spends more time focused on how upset "genius" Jerome Robbins gets with the dancers or how Natalie Wood kept a list of people in the production she disliked (including her love interest!). There's quite a bit about the casting of the show, which Barrios got directly from the notes of director Robert Wise, and it includes some surprising names that met with the director. There are also a lot of details about the choreography, which appear to have come from the many dancers involved who are still alive.
Beyond that everything else is rushed through or brushed aside. Leonard Bernstein, whose music essentially elevates the production to upper-class status, is barely mentioned in this book beyond the opening pages. How is that possible? The author claims this is horrible Jerome Robbins show, but I honestly believe he was the least important of the major original creators of the Broadway production. And he obviously was only good for the choreography in the film since he was fired.
Nor is there almost anything about the music recording sessions. There's also virtually nothing about the movie's editing process, which is a surprise since there were hundreds of hours of footage to pick from and director Wise is one of the great movie editors. We need to hear what choices were made, what remains in a vault, and how the movie could have been different through editing.
Then near the end of this too-short book (192 pages, of which about 80 pages are photos), the author mentions briefly the "2020" Steven Spielberg film and focuses almost exclusively on the representation in casting. I wish there would have been a serious discussion with other outside voices about how shows are cast. On one side are those that insist that a Latina character be played by someone with Latina heritage--but if casting were truly "color blind" then it shouldn't make any difference.
Read in 2021 and 2025.
Rita Moreno is a good example--she often played non-Hispanic roles in other films, so should we all object to a minority cast in a white role? You also don't hear people complaining that Puerto Rican Rita Moreno is playing the store owner's widow in the new Spielberg movie, and the character was a very white Polish-Jewish male in the first film. This idea of requiring that roles be filled by actors that match the ethnic or sexual background of a character negates what acting and art is truly about.
That kind of perspective and analysis is missing in this book, though the author has no problem making some bizarre comments on other aspects of the movie (how Robbins bisexuality impacted his relationship with his dancers?). To be fair, Barrios does allude to a few controversies, but for the most part the book sounds like a cheerleader's promotional puff piece for a film that really could be picked apart.
The photos are great. Some of the details of location shoots for the original movie will be of real interest to New Yorkers (most everything was shot on a location that was to be torn down just days after filming, where the Lincoln Center now stands). But the book is too repetitive with insignificant details and there's not enough depth to what should have been a book that equaled the stature of the beloved movie.
The writer places West Side Story at or near the top of the greatest movie musicals. While I love the film and put it near the top of my favorites, you can't overlook the miscasting of the two lead characters and the fact that they don't sing their own songs. Never has such a great movie had lead actors so wrong for the roles.
While he does allude to that, he spends more time focused on how upset "genius" Jerome Robbins gets with the dancers or how Natalie Wood kept a list of people in the production she disliked (including her love interest!). There's quite a bit about the casting of the show, which Barrios got directly from the notes of director Robert Wise, and it includes some surprising names that met with the director. There are also a lot of details about the choreography, which appear to have come from the many dancers involved who are still alive.
Beyond that everything else is rushed through or brushed aside. Leonard Bernstein, whose music essentially elevates the production to upper-class status, is barely mentioned in this book beyond the opening pages. How is that possible? The author claims this is horrible Jerome Robbins show, but I honestly believe he was the least important of the major original creators of the Broadway production. And he obviously was only good for the choreography in the film since he was fired.
Nor is there almost anything about the music recording sessions. There's also virtually nothing about the movie's editing process, which is a surprise since there were hundreds of hours of footage to pick from and director Wise is one of the great movie editors. We need to hear what choices were made, what remains in a vault, and how the movie could have been different through editing.
Then near the end of this too-short book (192 pages, of which about 80 pages are photos), the author mentions briefly the "2020" Steven Spielberg film and focuses almost exclusively on the representation in casting. I wish there would have been a serious discussion with other outside voices about how shows are cast. On one side are those that insist that a Latina character be played by someone with Latina heritage--but if casting were truly "color blind" then it shouldn't make any difference.
Read in 2021 and 2025.
Rita Moreno is a good example--she often played non-Hispanic roles in other films, so should we all object to a minority cast in a white role? You also don't hear people complaining that Puerto Rican Rita Moreno is playing the store owner's widow in the new Spielberg movie, and the character was a very white Polish-Jewish male in the first film. This idea of requiring that roles be filled by actors that match the ethnic or sexual background of a character negates what acting and art is truly about.
That kind of perspective and analysis is missing in this book, though the author has no problem making some bizarre comments on other aspects of the movie (how Robbins bisexuality impacted his relationship with his dancers?). To be fair, Barrios does allude to a few controversies, but for the most part the book sounds like a cheerleader's promotional puff piece for a film that really could be picked apart.
The photos are great. Some of the details of location shoots for the original movie will be of real interest to New Yorkers (most everything was shot on a location that was to be torn down just days after filming, where the Lincoln Center now stands). But the book is too repetitive with insignificant details and there's not enough depth to what should have been a book that equaled the stature of the beloved movie.
November 8, 2020
West Side Story is a classic, both on the stage and onscreen. Many of the songs have been covered by a wide range of vocal artists, and many of the musical pieces have been arranged for concert performance by both orchestra and concert band.
But the movie is what everyone knows, if they know and like musicals onscreen. Natalie Wood as Maria, Rita Morena as Anita, and George Chakiris as Bernardo (leader of the Sharks, and Maria's brother) are the ones I remember. Somehow the hero Tony is just a guy. It doesn't help that many of the voices were dubbed by more professional singers: the ever popular Marni Nixon for Natalie Wood, Jimmy Bryant for Richard Beymer (Tony), and Tucker Smith for Russ Tamblyn (Riff, leader of the Jets).
But what is most memorable is the dancing. Dancing gang members, wow.
Leonard Bernstein of course wrote the music; the then-little-known Stephen Sondheim wrote the lyrics; Jerome Robbins choreographed the dancing, at least most of it.
From conception to the stage play to the finished movie, it's all here. The Broadway actors, the various dancers who were on Broadway and/or in the movie, and the actors for the movie.
Part of the difficulty of casting the movie was that many of the Broadway people were "too old." They needed to be or at least look like teenagers, except for the few adult characters. Many of the Broadway dancers were also in the movie, but few of them kept the same roles. The casting people interviewed and/or tested many actors for the major parts and brought in many potential dancers.
Robert Wise and Jerome Robbins were codirectors until Robbins's perfectionism in the dance sequences, calling for rehearsal after rehearsal, and take after take after take after take brought them way over budget on both money and time, and he was fired. The dancers both loved and hated him. He was an exacting taskmaster who brought them to tears and exhaustion, but they loved that they were able to dance like that.
My favorite incident occurred at the West Coast premiere in December 1961 (long after the actual premiere at the Rivoli in New York in October). "For Russ Tamblyn, the highlight of the evening came when someone touched his shoulder and he turned around to find himself looking at Fred Astaire. Upon hearing the master's praise for his dancing, Tamblyn was reduced to dazed babbling."
George Chakiris and Rita Moreno both won Oscars as supporting actors. The movie also won Oscars for sound, editing, scoring of a musical, cinematography, costume design and others. Wise and Robbins both won Oscars as codirectors. Robbins also won a special award for "brilliant achievements in the art of choreography on film." The movie also won Best Picture.
Chapters are: One: Now it begins: from Shakespeare to Broadway; Two: Miracle Due: planning a movie; Three: Let them do what they can: finding the cast; Four: Halfway there: from Hollywood to New York; Five: Fair Fight: the Hollywood chronicles; Six: Yes it could: reactions and rewards; Seven: Once and for all: mortality and immortality; Eight: A new way: the 2020 version. Film Credits including people who didn't have onscreen credit. Selected bibliography.
I like chapter seven which gives everybody's after-West Side Story life and professions.
Recommended.
But the movie is what everyone knows, if they know and like musicals onscreen. Natalie Wood as Maria, Rita Morena as Anita, and George Chakiris as Bernardo (leader of the Sharks, and Maria's brother) are the ones I remember. Somehow the hero Tony is just a guy. It doesn't help that many of the voices were dubbed by more professional singers: the ever popular Marni Nixon for Natalie Wood, Jimmy Bryant for Richard Beymer (Tony), and Tucker Smith for Russ Tamblyn (Riff, leader of the Jets).
But what is most memorable is the dancing. Dancing gang members, wow.
Leonard Bernstein of course wrote the music; the then-little-known Stephen Sondheim wrote the lyrics; Jerome Robbins choreographed the dancing, at least most of it.
From conception to the stage play to the finished movie, it's all here. The Broadway actors, the various dancers who were on Broadway and/or in the movie, and the actors for the movie.
Part of the difficulty of casting the movie was that many of the Broadway people were "too old." They needed to be or at least look like teenagers, except for the few adult characters. Many of the Broadway dancers were also in the movie, but few of them kept the same roles. The casting people interviewed and/or tested many actors for the major parts and brought in many potential dancers.
Robert Wise and Jerome Robbins were codirectors until Robbins's perfectionism in the dance sequences, calling for rehearsal after rehearsal, and take after take after take after take brought them way over budget on both money and time, and he was fired. The dancers both loved and hated him. He was an exacting taskmaster who brought them to tears and exhaustion, but they loved that they were able to dance like that.
My favorite incident occurred at the West Coast premiere in December 1961 (long after the actual premiere at the Rivoli in New York in October). "For Russ Tamblyn, the highlight of the evening came when someone touched his shoulder and he turned around to find himself looking at Fred Astaire. Upon hearing the master's praise for his dancing, Tamblyn was reduced to dazed babbling."
George Chakiris and Rita Moreno both won Oscars as supporting actors. The movie also won Oscars for sound, editing, scoring of a musical, cinematography, costume design and others. Wise and Robbins both won Oscars as codirectors. Robbins also won a special award for "brilliant achievements in the art of choreography on film." The movie also won Best Picture.
Chapters are: One: Now it begins: from Shakespeare to Broadway; Two: Miracle Due: planning a movie; Three: Let them do what they can: finding the cast; Four: Halfway there: from Hollywood to New York; Five: Fair Fight: the Hollywood chronicles; Six: Yes it could: reactions and rewards; Seven: Once and for all: mortality and immortality; Eight: A new way: the 2020 version. Film Credits including people who didn't have onscreen credit. Selected bibliography.
I like chapter seven which gives everybody's after-West Side Story life and professions.
Recommended.
February 1, 2022
Ask a baby boomer which musical changed the cultural firmament forever and he/she is likely to say, “A Chorus Line.” Richard Barrios ably disputes that answer in his latest book, “West Side Story: the Jets, the Sharks, and the Making of a Classic” which reveals the good, the bad, and the not-so-I-Feel-Pretty about WSS.
For people who can’t get enough of this story (raises both hands), the book is a Thanksgiving feast of interesting facts and did-you-know’s. The original name of the musical, for instance, was “Gangway!” The lonnnnng casting process: Elvis was at one point considered for Tony, and Joey Heatherton (among others) auditioned for Maria. The fight to get it filmed on West 68th Street as real gang members watched and jeered was epic. The perfectionism of Jerome Robbins pushed the movie over budget and eventually got him sacked.
Barrios’ book doesn’t skip a detail, including the lack of chemistry between Richard Beymer and Natalie Wood, who was devastated when she found out her singing was later dubbed by Marni Nixon. The author also reports on the later reincarnations of WSS, right through to the one we saw on Broadway in 2019 (loved it) and the Spielberg film (due to be released this coming December.)
Stupendous photographs and just wonderfully juicy anecdotes about this cultural phenomenon. And no, New Yorkers, you can’t have it until I return it to the library after this accursed NYC blizzard disappears. Until then, stay cool, boy. Follow me for more reviews: acsntn.substack.com
For people who can’t get enough of this story (raises both hands), the book is a Thanksgiving feast of interesting facts and did-you-know’s. The original name of the musical, for instance, was “Gangway!” The lonnnnng casting process: Elvis was at one point considered for Tony, and Joey Heatherton (among others) auditioned for Maria. The fight to get it filmed on West 68th Street as real gang members watched and jeered was epic. The perfectionism of Jerome Robbins pushed the movie over budget and eventually got him sacked.
Barrios’ book doesn’t skip a detail, including the lack of chemistry between Richard Beymer and Natalie Wood, who was devastated when she found out her singing was later dubbed by Marni Nixon. The author also reports on the later reincarnations of WSS, right through to the one we saw on Broadway in 2019 (loved it) and the Spielberg film (due to be released this coming December.)
Stupendous photographs and just wonderfully juicy anecdotes about this cultural phenomenon. And no, New Yorkers, you can’t have it until I return it to the library after this accursed NYC blizzard disappears. Until then, stay cool, boy. Follow me for more reviews: acsntn.substack.com
Read
March 19, 2022 Broadway has launched hundreds of memorable shows that have grown into something iconic and unforgettable. One of those was WEST SIDE STORY that debuted in 1957. Many classic tunes came from that play, including Maria, Tonight, I Feel Pretty, and Somewhere.
The story that played out was also notable, about two gangs, The Jets and the Sharks, at odds with each other. The Sharks represented Puerto Rico, while the Jets were all-American. They each tried to assert their authority for the Upper East Side, but there was more to the rivalry.
Tony was a member of the Jets, and he was in love with a girl named Maria who aligned with the Sharks because of her nationality. It was forbidden love, often compared to Romeo and Juliet. Because of the show’s popularity, it was only logical for the movie to come to the silver screen. It did in 1961 after a search for the right actors to play these roles.
Such names as Elvis Presley, Tony Curtis, Paul Newman, Robert Wagner, Jill St. John, Yvette Mimieux, and Mary Tyler Moore were considered. Eventually such stars as Natalie Wood and Rita Moreno were chosen. The movie won a record breaking ten Academy Awards that year, including Rita Moreno. The book looks back at the making of the movie and how it became so popular and a classic.
A new version was made in 2021, directed by Stephen Spielberg, but it cannot compare to the 1961 film that is still talked about today in glowing terms.
The story that played out was also notable, about two gangs, The Jets and the Sharks, at odds with each other. The Sharks represented Puerto Rico, while the Jets were all-American. They each tried to assert their authority for the Upper East Side, but there was more to the rivalry.
Tony was a member of the Jets, and he was in love with a girl named Maria who aligned with the Sharks because of her nationality. It was forbidden love, often compared to Romeo and Juliet. Because of the show’s popularity, it was only logical for the movie to come to the silver screen. It did in 1961 after a search for the right actors to play these roles.
Such names as Elvis Presley, Tony Curtis, Paul Newman, Robert Wagner, Jill St. John, Yvette Mimieux, and Mary Tyler Moore were considered. Eventually such stars as Natalie Wood and Rita Moreno were chosen. The movie won a record breaking ten Academy Awards that year, including Rita Moreno. The book looks back at the making of the movie and how it became so popular and a classic.
A new version was made in 2021, directed by Stephen Spielberg, but it cannot compare to the 1961 film that is still talked about today in glowing terms.
November 22, 2020
I love West Side Story and this book does a good job relating the backstory of the play, the making of the movie, and the exploring the continuing influence of the work. The last chapter feels like an ad for the Spielberg remake, which was supposed to be out in theaters this month, but has been delayed due to the pandemic. The author seems to have no more knowledge about the remake than the average avid pop culture fan, so this part of the book feels like magazine hype. The backstage, behind-the-camera stories Barrios tells are interesting and often gossipy without being sleazy. The photographs are wonderful, but it doesn't seem like the author had much contact with the living principals which winds up making this feel like a long Vanity Fair article. But I am very glad to have read it, even if it may be the be-all and end-all of making-of books.
October 22, 2021
A little too glossy and unevenly paced. Treats the movie as if almost sacred. Some interesting stuff about Jerome Robbins and what a pain in the ass he was, but anything fun is only hinted at, like the shenanigans of the dancers or Natalie Wood possibly being a diva. The author spends a lot of time on who the director auditioned, but doesn't offer much commentary or insight. Same with how he presents changes from broadway show to movie - very little attempt to explain why. On the plus side, Rita Moreno doesn't hold back, and there are some great behind-the-scenes photographs.
September 5, 2020
Excellent history of both the Broadway production and the film. Lots of inside details from conception, creation and original production to casting and film production written in an intelligent, thoughtful style. Great insight for newcomers to a play/film that literally changed American Musical Theater forever and a primer for those awaiting the upcoming release of the Spielberg version. If you are a West Side Story groupie you will love this book.
September 12, 2020
Author Richard Barrios offers fans and musical enthusiasts a valuable companion to this iconic film with West Side Story: The Jets, the Sharks, and the Making of a Classic. This is a soup to nuts exploration of the Broadway play's origins, it's transformation to film, the casting, the production, the release and the story's continued legacy. A thoroughly enjoyable read.
My full review here: https://www.outofthepastblog.com/2020...
My full review here: https://www.outofthepastblog.com/2020...
January 4, 2021
I'm a huge fan of 'West Side Story' and it is without a doubt my favourite musical. This book is an invaluable resource for anything relating to the filmed version of Leonard Bernstein's masterpiece (although he is rarely referenced). Who knew that so much had been going on behind the scenes? I can't recommend it highly enough for anyone who like me, could watch the film time and time again and never be bored!
September 26, 2022
A wonderful trip down memory lane! The film West Side Story opened my eyes to the world around me. As a working class preteen I was woefully unaware of the rest of my city. This movie was my turning point. This book is filled with details that amazed me and brought back memories.
The tone of the book was a little too adoring even for me. I think there might be a limited audience for this book.
The tone of the book was a little too adoring even for me. I think there might be a limited audience for this book.
April 13, 2025
Goodness me, I had no idea that this particular film (the original) was SO popular and influential in its time. The book was informative and enjoyable, as it detailed locations, budgeting, the choreographer challenges, casting, music, really just much of the 'Making of' and stories of its release and impact, but mostly it was well put together a big thick hard cover book with lots of photos.
July 9, 2021
A quick read with lots of photos from the making of the movie. I wasn't aware of the behind the scenes drama that was going on (besides the voice doubles) - lots of insight to the show and the movie that make me hungry for Spielberg's remake.
October 1, 2021
Nice behind-the-scenes insight into the making of the film and the personalities of the key creative figures. Occasionally the author gets a little too hyperbolic in his descriptions but it’s somewhat to be expected.
Want to read
January 17, 2022Richard Barrios was a guest on the Columbus Moving Picture Show podcast and talked in depth about this book. Although West Side Story isn't my favorite film of all time, I've seen it many times and was fascinated to learn about the behind-the-scenes and making-of.
December 11, 2022
Interesting read about the making of the movie West Side Story. Barrios is occasionally a bit defensive about the movie, and can be over-the-top in his praise of it, but worth a read for movie fans. The pictures are great.
February 7, 2021
I loved this book. If you like west side story you will love it. This book talks about the making of the movie and broadway show. I totally recommend.
February 19, 2021
What a pleasure to be immersed in this world of art, music, and creative passion. Lots of gorgeous photographs too.
May 11, 2021
An excellent discussion of the play and the movie adaptation, 60 years after its release. It makes me even more excited to see the remake in December.
May 3, 2022
A must for any "West Side Story" fan!!
June 7, 2024
Favorite movie, one of my favorite actors (Russ Tamblyn), total win. Love reading the different ins and outs behind the scenes.
Displaying 1 - 24 of 24 reviews