West Side Story's Oscar journeys (then & now)

by Nathaniel R

3 of West Side Story's Oscar wins: SUPPORTING ACTOR (Chakiris), DIRECTOR (Robbins & Wise), SUPPORTING ACTRESS (Moreno)

The original West Side Story, which premiered on October 18th, 1961, and which we've discussed in great detail here, was a true four-quadrant blockbuster. It was not only the top-grossing film of its year but an all out Oscar smash. By the spring of 1962 West Side Story was so popular that it did a near complete sweep at the 34th annual Academy Awards ceremony, losing in only one of its categories: Best Adapted Screenplay (which went to the Holocaust courtroom drama Judgment at Nuremberg). But that wasn't all in terms of West Side Story mania. The very next month it competed for "Album of the Year" at the 4th Annual Grammys Awards (it had to settle for winning Best Soundtrack Album since "Judy at Carnegie Hall" took the top prize) and stayed at #1 on the Billboard album charts for almost an entire year (no joke).

How well will the new West Side Story fare? That's a difficult question because a lot of things have changed since West Side Story's initial movie run 60 years ago, including the popularity of musicals within mainstream culture, the number of Oscar categories, the nature of both Oscar campaigns and moviegoing, and even one role within the famous musical...

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Beauty Break: To Rita Moreno on her 90th Birthday

by Nathaniel R

Today marks 90 years since the blessed birth of the legendary EGOT winner Rita Moreno. With Steven Spielberg's West Side Story remake upon us in theaters, the trailblazing Puerto Rican star is back in the spotlight. Not that light hasn't always followed her.... hell, emanated from her. Are we laying it on thick? Who cares, she deserves it!

As faithful readers know, the original West Side Story (1961) is my all time favourite so it was hard not to be skeptical / worried about the remake. Naturally then, the new rendition is taking me a bit of time to process but, in short, though some of the raves are hyperbolic, the movie is mostly a thrill. Of its many pleasures, the one that we most emphatically co-sign was uttered by Rita Moreno herself who said...

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FYC: "So May We Start" for Best Original Song

by Cláudio Alves

On December 21st, the Academy will announce their shortlists in several categories, including Best Original Song. As usual, some mainstream triumphs feel like locks already, maybe not for the final lineup but certainly the roster of 15 finalists. Even before the movie was released, Billie Eilish had already won a Grammy for her Bond theme, "No Time to Die." Beyoncé seems like an inevitable nominee thanks to King Richard's "Be Alive." As for Lin-Manuel Miranda's work for Encanto, it's never a good idea to bet against Disney. In the midst of it all, the weird glory of Leos Carax's Annette may be forgotten, despite its vast score of original songs by the Sparks (Ron Mael and Russell Mael). Please, dear reader, allow me to make the case for that musical's first and best tune…

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What's Encanto's best song?

by Cláudio Alves

Just as they did with their last animated musical, Disney has decided to focus their campaigning on a single song from Encanto. In total, Lin-Manuel Miranda composed eight tunes for the feature, but only "Dos Oruguitas" will get a chance to compete for Oscar gold. Considering the risk of hypothetical vote-splitting, it's an understandable move though Disney hasn't always been the best judge of their songs' quality. So who's to say they know which song would make the best contender? With 2019's Frozen II, not everyone agreed with the spotlighting of "Into the Unknown" to the detriment of "Show Yourself." Does history repeat itself with Encanto? As with Frozen II, let's settle the matter through some list-making fun. In other words, a ranking… 

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Stephen Sondheim (1930-2021)

by Nathaniel R

Back in the early days of the internet, when listserv discussions were the norm, I remember engaging in a robust discussion about what the best musical ever written was. Someone said "the one about the murderous barber and the meat pies" and online friends began riffing on that response. Answers followed like "fairy tale characters collide" "a commitment-phobe turns 35", "a French pointillist epic " and "the one about old showgirls reuniting / reiminiscing". It took a while before the spell was broken and a musical not written by Stephen Sondheim entered the discussion and even some of those, like "the rise of a burlesque star and her overbearing mother" and "two street gangs in New York City" had Sondheim's fingerprints on them. While the conversation began in a tongue-in-cheek way, the answers were genuine. It was hard to shake the realization that there were at least a half dozen shows by the same artist that could legitimately battle for the title of Greatest Show Ever Written. It was, quite frankly, awe-inducing.

I've never felt more spiritually transported in a Broadway house than during Sunday in the Park with George. And reverence is what everyone who knows what there is to know about musicals feels for Sondheim. Especially now. Nevertheless, a caveat: Reverence is not always the best way to approach art. Sondheim's work is complex and lively and varied enough to invite many moods in. Adjectives that are or should be frequently thrown at his work -- multi-faceted, polyphonic, panoramic, prismatic -- all suggest a difficult plurality...

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