Another member: The greatest! Snowboy When you're a Jet, you're a top cat in town You're a gold medal kid with the heavyweight crown! Ice When you're a Jet, you're the swingin'est thing Little boy, you're a man, little man, you're a king. All Jets The Jets are in gear, our cylinders are clickin' The Sharks'll steer clear, 'cause every Puerto Rican's a lousy chicken Here come the Jets, like a bat out of hell Someone gets in our way, someone don't feel so well Here come the Jets, little world, step aside Better go underground, better run, better hide We're drawin' the line, so keep your noses hidden We're hangin' a sign, says: 'Visitors Forbidden' And we ain't kiddin' Here come the Jets, Yeah, and we're gonna beat Every last buggin' gang on the whole buggin' street On the whole Tony, an ambitious, level-headed young man who is responsibly employed and works for a living at Doc's, the neighborhood drug and candy store, resists Riff's invitation to the dance, to confront the Sharks that "walk bad" and "fight hard" on neutral turf.
Riff pleads for one last favor from his idealistic best friend who has left his past behind and dreams of moving on to something "just around the corner":. Tony: Every single night for the last month, I wake up. And I'm reachin' out. Riff: For what? Tony: I don't know. Riff: A dame? Tony: It's right outside the door. Just around the corner. But it's comin'.
Riff: What is? It's like the kick I used to get from bein' a Jet, you know? Riff: Oh, well now you're talkin'. Oh man, without a gang, you're an orphan. With a gang, you walk in twos, threes, fours. And when your crew is the best, when you're a Jet, you're out in the sun, buddy-boy. You're home free home. Tony: Riff, I've had it. Riff: Tony, Tony, look at me, will ya? Come on, look at me Now, I never asked the time of day from a clock, did I?
I never asked nothin' from nobody. But I'm askin' you: 'Come to the dance tonight. Riff: Then do it after the dance. Tony, I already told the guys you'd be there. If you don't show up, I'll be marked lousy. Tony: What time'd ya tell 'em? Riff: Ten. For me Tony, for Riff! Tony: Ten it is. They shake Riff: Womb to tomb! Tony: Birth to Earth. And I'll live to regret this. Riff: Who knows? Maybe what you're waitin' for will be twitchin' at the dance tonight? Tony sings: "Something's Coming," a song of expectancy about the coming night:.
Could be, who knows? There's something due any day. I will know right away, soon as it shows. It may come cannonballin' down through the sky, gleam in its eye, bright as a rose! Who knows? It's only just out of reach, down the block, on a beach, under a tree. I got a feeling there's a miracle due, gonna come true, coming to me.
Could it be? Yes it could, something's coming, something good. If I can wait, something's coming, I don't know what it is, but it is gonna be great His dance under many clotheslines heaped with laundry transitions with a match-cut to a scene in the back of Madame Lucia's Bridal Shop where fabric hangs.
There, a young, newly-arrived a month earlier , innocent-looking Puerto Rican girl, Maria Natalie Wood in her second adult film role , speaks in a heavy accent to Anita Rita Moreno while she makes alterations to Maria's dress for the evening's dance. Maria begs her to lower the neckline one more inch on her dress, as she slightly pulls down on her own bodice "How much can one little inch do? However, Maria's over-protective brother Bernardo and Anita's boyfriend , who wants to prevent her from growing up too fast, has already forbidden it: "Bernardo made me promise.
Maria: When I look at Chino, nothing happens. Anita: Well, what do you expect to happen? Maria: I don't know. What happens when you look at Bernard? Anita: It's when I don't look that it happens. When Maria tries on the plain white dress with a wide red belt, she complains: "White is for babies," but after trying it on, she becomes ecstatic: "It is a beautiful dress! Then the Skarks and Jets plan a rumble under the highway - whoever wins gains control of the streets.
Maria sends Tony to stop it, hoping it can end the violence. It goes terribly wrong, and before the lovers know what's happened, tragedy strikes and doesn't stop until the climactic and heartbreaking ending. Just beyond where they were filming stood half a block of boarded tenements destined for demolition which would soon make way for the newly constructed Lincoln Center.
For the new script, he turned to Angels in America playwright Tony Kushner, who previously worked with him on Munich and Lincoln, to craft an updated story that retains the familiar songs but embeds them in a more realistic cityscape.
That realism also applied to casting. Spielberg only wanted performers with Hispanic backgrounds to play Hispanic characters, and he estimates that 20 of the 33 Puerto Rican characters are specifically Puerto Rican or of Puerto Rican descent. And there was so much interaction between the cast wanting to be able to commit to the Puerto Rican experience.
They all represent, I think, a diversity, both within the Puerto Rican, Nuyorican community as well as the broader Latinx community. And they took that seriously. The film stars newcomer Rachel Zegler in the role originated onscreen by Natalie Wood—purehearted Maria, part of the wave of Puerto Rican migrants who traded one island for another when they came to New York seeking a new life in the post—World War II economic boom.
Her streetwise Casanova is Tony Baby Driver actor Ansel Elgort, taking over the part played by Richard Beymer , who once led a gang of local toughs known as the Jets, but has since outgrown them. Remember Doc, the old-timer who ran the corner store that served as neutral ground for the gangs? Spielberg made Moreno an executive producer on the film and urged her to share her perspectives on that time and place with the younger actors. You are fucked if they catch you!
Scare each other!
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