Top 10 Differences Between West Side Story (2021) & (1961)

Welcome to MsMojo, and today we’re counting down our picks for the All the Differences Between West Side Story (2021) & (1961).

For this list, we’ll be stacking Steven Spielberg’s interpretation of the classic musical against its Best Picture-winning predecessor, singling out the most notable changes. If you haven’t seen either film, the stage version, or “Romeo & Juliet,” expect something to get spoiled.

Which version of “West Side Story” do you prefer? Let us know in the comments.

While siblings Bernardo and María were well-defined characters in the 1961 film, the remake introduces a few new details that go a long way. In addition to being the leader of the Sharks, Bernardo is a celebrated boxer as well. We see Bernardo’s potential to be a contender, which makes his untimely downfall all the more tragic. Although the siblings’ parents are unseen in the original film, it’s established that they’re in America with their children. In Spielberg’s film, it’s implied that María, Bernardo, and Anita are paying the rent without parental supervision. This emphasizes Bernardo as both a brother and a father figure to María. After more than sixty years, the brother and sister also finally get a last name: Vasquez.

Both versions have the iconic balcony scene in common, but Tony and María’s subsequent date switches locations. Rather than meeting at a bridal shop where they put on a pretend wedding, the star-crossed lovers take a train to the Cloisters and Church of the Intercession. While they once again fantasize about getting married, Tony and María are more realistically written here. Instead of having their heads in the clouds, the two take the time to discuss the rivalry revolving around their romance. Deep down, both know that the relationship might not work out. Upon singing “One Hand, One Heart,” though, they walk away from the date feeling more hopeful. Their naivety is balanced with realism, establishing Tony and María as more believable characters.

The feud between the Jets and Sharks has always boiled down to territory, but Spielberg’s film adds an extra layer. The neighborhood is being torn down to build nicer buildings and bring in a more upscale community. The Jets can’t stop the construction workers, new business owners, and city officials from invading their stomping ground. However, they can stop the Sharks from taking over what’s left. Riff thus channels all of his fear and hate into bringing down the rival gang. More than ever before, we see Riff as a big fish in a small pond. Even if Riff chases off the sharks in his water, he’s clinging to a territory that’s changing every day and will eventually be unrecognizable to him.

The rumble has the same outcome in both films, but the buildup is different. In the original, the gangs meet at Doc’s store to establish ground rules. In Spielberg’s film, they arrange things in a bathroom. Tony doesn’t intervene to make it a fair fight this time, although he tries to prevent the rumble. Like the first film, María pleads with Tony to not let the fight happen. María subsequently decides that it’d be better for Tony to stay away entirely. Nevertheless, Tony makes an effort in a unique rendition of “Cool” where the Jets play keep away with a gun. Unable to reach Riff, Tony makes one last attempt at the rumble - this time set in a salt shack - where violence inevitably ensues.

Chino isn’t given much development in the first film outside of being the “other guy” who María is expected to marry. Although Chino mentions he’s working as an assistant, he’s still seen fighting by Bernardo’s side. The remake introduces Chino as Bernardo’s shy and kind of dorky friend with a bright future. Bernardo wants Chino to give María a better life, distancing him from the Sharks. Regardless, Chino wants to be a man of action like Bernardo. This gives Tony and Chino an interesting parallel. Both have the potential to go legit, but neither can escape the gang world. Where Tony makes a genuine effort to leave this world behind, Chino goes looking for trouble and emerges more vengeful.

Both films find Tony making an honest living at Doc’s. In the 1961 film, it’s briefly mentioned that the youth board compelled him to get a job. The 2021 version provides more background information, revealing that Tony is on parole after spending a year in the pen. He was imprisoned for almost beating a rival gang member to death. Tony is afraid that if he returns to the Jets, he’ll go one step further, which is what ultimately happens. Due to his darker backstory, Tony is even more resistant about attending the gym dance. Like the original movie, Tony’s confrontation with Riff is followed by his solo, “Something’s Coming.” This time, though, Valentina gives Tony a confidence boost, which leads to the song.

The 1961 film tweaked the stage version’s song order, namely putting “Gee, Officer Krupke” and “I Feel Pretty” before the rumble and placing “Cool” after. The 2021 film sticks closer to the Broadway version, pushing “Cool” back to the first act while “I Feel Pretty” follows the rumble. “Officer Krupke” remains in the first half, however. This makes sense, as having a comedic song after two major characters die always felt off in the stage musical. Spielberg also keeps things fresh by changing locations, moving “America” from the balcony to the streets, “Officer Krupke” from outside Doc’s to the police department, and “I Feel Pretty” from the bridal shop to Gimbels. “I Feel Pretty” is made more tragic knowing María’s world is about to collapse.

Signing on to direct “West Side Story,” Spielberg knew he had to involve Rita Moreno, who won an Oscar for playing Anita in the original film. Moreno was initially resistant, assuming it would just be a cameo. Spielberg informed her, however, that screenwriter Tony Kushner created a new character named Valentina, Doc’s widow. Like Doc in the 1961 film and stage version, Valentina provides a neutral ground between the Jets and Sharks. Valentina also has a better understanding of what Tony and María are going through, being a woman of Puerto Rican heritage who married a white man. Moreno even gets to sing one of the most important songs, “Somewhere,” which can apply to Tony and María, as well as Valentina and her late husband.

Although “West Side Story” is about culture clash, the original film is primarily in English with an occasional Spanish word thrown in. In the remake, Anita repeatedly reminds her fellow Puerto Ricans to practice their English. On several occasions, though, they revert to their native language. Other times, they shift between English and Spanish. In an inclusive move, Spielberg chose not to have subtitles for the dialogue spoken in Spanish. Spielberg explained that he didn’t want to give “English the power over the Spanish.” Even if you don’t speak Spanish, the performances are so passionate that you can still read every emotion. While this is a testament to the acting, it also shows that the language barrier isn’t as hard to overcome as some assume.

While Robert Wise and Jerome Robbins made a timeless film, diversity is the one aspect where the original fell short. Natalie Wood, whose parents were Russian, and George Chakiris, who’s of Greek descent, wore makeup to appear Puerto Rican. Even Moreno, a Puerto Rico native, wore darker makeup. With the remake, Spielberg wanted to represent New York’s diversity, even adding a Black character named Abe, played by Curtiss Cook. There are roughly 33 Puerto Rican characters in the film. According to Spielberg, at least 20 are “specifically Puerto Rican or of Puerto Rican descent.” While not every Shark actor is Puerto Rican, Spielberg insisted that they all come from Latinx communities. This includes María’s actress, Rachel Zegler, who’s of Colombian descent on her mother’s side.