#maría west side story

[behold-the-brave-battalion-17]

María: I wanted to kiss your face.

Tony: Why didn’t you?

María: I couldn’t reach.

[lucygraysmockingjays]

She is so Juliet AND Snow White

[v1tfrma]

West side story, my favourite musical ❤️❤️

[waitinqroom]

one of the most underrated funny things that glee did was having the high school production of west side story cast two asians as the two most important white characters

[libraryleopard]

the west side story remake didn't include ANY ominous gangster finger-snapping so WHAT was the point

[autisticheadcanons]

Maria from West Side Story (2021) is Autistic.

[zeglyth]

WEST SIDE STORY Rachel Zegler as María

[caitlynskitten]

Wednesday is just grateful that she wasn’t there when they all went to see West Side Story

Yoko still has war flashbacks to Enid and Divina singing “I Feel Pretty”

Omgggg I would be with Enid and Divina singing with them because I LOVE west side story. Also Bianca and Yoko had to suffer listening them to sing almost all the songs.

Bianca: Okay so where is the shop?

Yoko: According to my map it’s next to Aunt Maria’s Bakery.

Enid: Hold on. Who’s bakery?

Yoko: Aunt Maria’s.

Divina: María?

Enid: Maria?

Divina and Enid: Maria?

Bianca: Oh no-

Divina and Enid: 🎵I’VE JUST MET A GIRL NAMED MARIA-🎵

Yoko: NO!!!!!!!!

[daydreaming-optimist]

Something about Rachel Zegler's film debut being María in West Side Story and her Broadway debut being Juliet in Romeo + Juliet is doing things to my emotions

[atesaturno]

west side story (2021)

🎞️ watched 31.12.23 🎞️ rating 3.5/5 ☆

🎞️ thoughts

oh, the power of a poorly casted character... i'm going to be 100% frank, my least favorite thing was having to painfully watch Ansel Elgort trying to portray Tony. honestly, i don't think the story works well as a movie; not everything can be translated into different media and west side story shines as a musical stage production, and goes shallow when played on the screen.  on another note, Rachel Zegler is incredible in everything she does, and i was mesmerized by her performance as María! i'm a die-hard romeo+juliet fan so any retelling catches my interest and even though this wasn't a favorite, it was still enjoyable.

How many can I kill, Chino? How many? And still have one bullet left for me?

[pumpkinbxtch]

*daydreaming fiercely about how Leo sings "María" from west side story to me*

[behold-the-brave-battalion-17]

Tony: On a scale of one to ten, I’m a nine because you’re the one I need. 

María: You’re a ten. 

Tony: No, it’s a pick-up l- 

María: You’re a ten. End of discussion.

[sloshed-cinema]

West Side Story (1961)

So much emotion can be found in a whistle. After the overture, the film adaptation of Bernstein’s masterpiece is established in helicopter shots and whistles sending out taunts. New York, turf to be claimed. Initially, the intonations are haunting but melodic, centering around that central interval which defines the musical, the tritone. This diabolus in musica can be “the most beautiful sound I ever heard” if referring to María, or it can signal gang-land antagonism. But it can also be downright intimidation, the Sharks and Jets finding ways to whistle like cads pursuing someone down the street to chase unwanted rivals off their turf. This interlinking of the identities of the story and its music is key to the power of this film. The creatives behind its source captured lightning in a bottle. Leonard Bernstein finds brilliance in charting the length and breadth of American musical sensibilities as he creates a conflicted identity for this New York in extremis. A Sondheim early in his career begins to show his lyrical wit while also demonstrating a proclivity for meditating on a key term which becomes pivotal later: ‘tonight’ is initially innocuous, but that seed germinates in the powerful Quintet, wherein a single night can represent an endpoint (the rumble) or infinite possibilities (Tony and María). There are certainly problems here, even beyond the widespread brownface casting. The updated lyrics to “America” are still troubling, even if this represents an effort on some level to present the frustrating plight of emigration in search of a better life. But in a way Bernstein’s score offers a dark rebuttal: Anita’s attempted rape is accompanied by strains of that same song, the jaunty hemiola not so catchy when a woman is being assaulted by a gang. Perhaps the country she has so much hope for is more of a racist shithole than she’d led herself to believe. This same journey from consonance to dissonance defines the score. Tony makes beauty out of a traditionally abhorrent interval with his adulation of María, implying that this gang conflict is arbitrary and false. But it’s a cry into the void. When Tony and María first reunite and serenade each other with “Tonight,” their final farewells are accompanied by an upward-reaching gesture in strings and woodwinds. It’s hopeful and yet incomplete. After Tony dies and María is left with hate in her heart for the first time, Bernstein builds an exquisite, towering cathedral of dissonance, pinched brass and surly lower strings closing in on the suddenly ashamed gang members. The film closes with that same hopeful gesture. But it’s been filled in at last, with a dark, dissonant pedal tone. The music, this love, is left unresolved.

THE RULES

PICK ONE

Select either TONY or MARÍA and sip whenever someone says their name.

SIP

A tritone occurs in the melody of a song (think "María")

Solidarity against the cops.

Snapping happens in a scene.

A 'Vote for Al Wood' poster appears onscreen.

BIG DRINK

Whip pan.

Amazing stage punch!

Saxophone appears in a song.

[snixx]

maría west side story is literally my ex best friend jesus christ

[natalie38wood]

La Rochelle: (Francia) Natalie Wood, rostro del nuevo cartel de Fema.

Después de Bette Davis el año pasado, Stanislas Bouvier, pintor oficial de Fema, eligió a la actriz estadounidense para el cartel de la 52ª edición

Siempre esperado con impaciencia por su fuerza pictórica y singularidad, acaba de revelarse el cartel del Festival de Cine de La Rochelle (Fema). Después de la mirada inquietante de Alain Delon en 2022, la boca glamorosa de Bette Davis en 2023, es el rostro melancólico de la actriz estadounidense Natalie Wood el que se exhibirá en casi todas partes dentro de unas semanas en las paredes de la ciudad con motivo del la 52ª edición que se celebrará del 28 de junio al 7 de julio de 2024.

Como siempre, está firmado por el pintor cinéfilo Stanislas Bouvier, que colabora con el equipo del festival desde hace más de treinta años. “Lanzada desde muy joven en los platós de cine bajo el control férreo de una madre tiránica y ambiciosa, Natalie Wood vivirá el trágico destino de una heroína de cine, íntimamente ligado a su vida personal, donde la ficción en pantalla refleja los tormentos de Pasión y sueños rotos de amor a orillas de una realidad cruel y sin rostro. El cartel de este año rinde homenaje a esta gran amante con ojos de niña, que también fue la María de ''West Side Story'' y la inolvidable ''Centauros del desierto'', una figura deslumbrante y profundamente conmovedora magnificada bajo la La luz del sol de Hollywood y la lente de los más grandes directores americanos”, explica el pintor. Desde 1990, Stanislas Bouvier pinta imágenes icónicas y cautivadoras, compuestas de paisajes imaginarios y siluetas cinematográficas, que los asistentes al festival se apoderan de él.

La 52ª edición dedicará una retrospectiva al icono de Hollywood Natalie Wood. Entre los siete largometrajes proyectados se encuentran “Centauros del desierto” de John Ford, “West Side Story” de Robert Wise y “Rebelde sin causa” de Nicholas Ray. Al final del festival se organizará una mesa redonda en torno a la actriz, moderada por Séverine Danflous (escritora y crítica) y en presencia de Axelle Ropert (cineasta y crítica), Antoine Sire (escritor) y Lucas Aubry (crítico).

[danieljreboot]

Manhattan, Upper West Side, 1957. Against the backdrop of the decaying tenements in the San Juan Hill neighbourhood and the constant threat of the wrecking ball, two warring gangs--tough Riff's Jets and swaggering Bernardo's Puerto Rican Sharks--fight for supremacy. Now, with a once-and-for-all, winner-takes-all rumble on the cards, an unexpected whirlwind romance at the high-school dance between former Jet brawler Tony and Bernardo's delicate little sister María sets the stage for an all-out turf war. But what's a gang without its territory? Above all, when the future is uncertain, what's hope without love?

Directed by Academy Award® winner Steven Spielberg, from a screenplay by Pulitzer Prize and Tony Award® winner Tony Kushner, “West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City. This reimagining of the beloved musical stars Ansel Elgort (Tony); Rachel Zegler (María); Ariana DeBose (Anita); David Alvarez (Bernardo); Mike Faist (Riff); Josh Andrés Rivera (Chino); Ana Isabelle (Rosalía); Corey Stoll (Lieutenant Schrank); Brian d’Arcy James (Officer Krupke); and Rita Moreno (as Valentina, who owns the corner store in which Tony works). Moreno – one of only three artists to be honored with Academy®, Emmy®, GRAMMY®, Tony® and Peabody Awards – also serves as one of the film’s executive producers. Bringing together the best of both Broadway and Hollywood, the film’s creative team includes Kushner, who also serves as an executive producer; Tony Award® winner Justin Peck, who choreographed the musical numbers in the film; renowned Los Angeles Philharmonic conductor and GRAMMY Award® winner Gustavo Dudamel, who helmed the recording of the iconic score; Academy Award®-nominated composer and conductor David Newman (“Anastasia”), who arranged the score; Tony Award®-winning composer Jeanine Tesori (“Fun Home,” “Thoroughly Modern Millie”), who supervised the cast on vocals; and Grammy®-nominated music supervisor Matt Sullivan (“Beauty and the Beast,” “Chicago”), who served as executive music producer for the film. The film is produced by Spielberg, Academy Award®-nominated producer Kristie Macosko Krieger and Tony Award®-winning producer Kevin McCollum. “West Side Story” has been adapted for the screen from the original 1957 Broadway show, with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.