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      Does the Academy Hate Movies? Our Critics on the 2022 Oscars.

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      Whatever you make of the slap, the telecast as a whole was a frustrating night of television that seemed based on a misunderstanding of what makes films great.Our chief film critics reflect on an Oscar night that went pretty much as expected — until it didn’t.A.O. SCOTT “The greatest night in the history of television,” said Chris Rock, a few seconds after Will Smith slapped him. Not a bad off-the-cuff punchline (so to speak). But until that moment — and Smith’s tearful, unrehearsed acceptance speech when he won best actor a short time later — it had been a dull and frustrating evening of television. Few surprises in any category (except maybe when “Belfast” won for original screenplay). Sentimentality triumphing over craft (except when Jane Campion won best director). A gnawing sense that the academy doesn’t understand movies, and maybe even hates them.MANOHLA DARGIS Bingo! Mind you, I don’t think the academy and its roughly 10,000 members hate movies; they just sometimes have really terrible taste, like everyone else, except you and me. But I think that as a TV show, the Oscars absolutely have contempt for the art, as the unfunny jokes about the hosts not finishing “The Power of the Dog” underscored.SCOTT The slap did not dispel any of that, but it did distract Twitter, which convulsed with takes about what it meant. We can get to that (or not!), but for the moment I want to stick with the question of what kind of television this was. American viewers did not actually see it on their screens. When the image froze, I thought my laptop had crashed, and it was only when people started posting uncensored video from Australian and Japanese broadcasts that anyone here knew what had happened. During Smith’s speech, the cameras cut away to Venus and Serena Williams, and then to the Oscars logo. Here was a spontaneous, complicated, emotionally intense moment — serving up more raw and painful human drama than “CODA,” “Belfast” and “King Richard” combined — and ABC just could not deal with it.DARGIS To be uncharacteristically fair about my favorite hate-watch, ABC wasn’t alone in not being able to deal. Initially, when ABC cut off Smith’s rebuke to Rock, I thought that the janky antenna that I use the rare times I watch broadcast TV had failed. Like a lot of people, I don’t watch as much traditional TV as I once did, which is part of the show’s and ABC’s intractable problem. That the network or the Oscar producers, or both, lost their nerve wasn’t surprising given that they’d already failed by not presenting some of the essential awards live.Will Smith’s slapping Chris Rock clearly overshadowed the evening.Ruth Fremson/The New York TimesSCOTT The way the “below-the-line” awards were banished to an earlier, pre-broadcast ceremony and then spliced into the main event was nonsensical. Are the acceptance speeches of cinematographers and costume designers inherently more telegenic than those of composers and editors? As it happens, Jenny Beavan, winning her third costume Oscar (for “Cruella”), was glamorous and genuine and funny, and her celebration of craft and professionalism represents the best of the Oscars. So do the honorary awards, which were held Friday night and featured Denzel Washington and Samuel L. Jackson hugging and cracking each other up as Washington presented Jackson with his trophy. Why wouldn’t the TV audience want to see that?DARGIS Even so, this year’s event started off pretty OK, particularly given horrific world events. One of the three hosts, Regina Hall, deftly handled the bit about administering faux Covid tests to some of the men in the room, even as the camera focused on her rear. It was stupid Oscar shtick — surprise — yet as it went on (and on), I kept thinking about the fact that the United States alone is approaching one million pandemic deaths. I’m not sure how the show could have addressed Covid’s grievous toll, but asking for a moment of silence, of all things — as it did with Ukraine — might have been worse.Of course now all the focus is on the slap, which was embarrassing and very sad. Smith seems to be going through something deeply complicated, to the point that he sabotaged his own triumph. As for the rest of the show, it lacked dramatic shape and momentum, partly because those canned awards would have given the live event more tension and emotion. There was no buildup, just bits … and an obituary musical number. Among other things, the show didn’t give viewers a coherent point of focus, the way it has when Jack Nicholson or Meryl Streep sat front and center representing the art and industry, a place that this year should have been reserved for Denzel Washington, who looked mighty uncomfortable in that chair.SCOTT The endless pre-Oscar hand-wringing about how to shore up ratings and make the show more relevant demonstrates a lack of confidence that was very much in evidence last night. The hosts were fine. The movies that won were fine.Except for those idiotic “fan” awards. They were, somewhat hilariously, hijacked by the Zack Snyder Twitter militia. The most memorable movie moment (of all time? of the century? it was hard to tell) is supposedly that scene from “Justice League” when Flash enters the Speed Force. And the most popular movie (of 2021) was “Army of the Dead,” which beat other curiosities like “Cinderella” and “Minimata.”Is this the death of cinema?DARGIS LOL. (Also: Did you see “Minimata”?) The Oscars are a TV show, and while they reflect certain industry trends, like the transformation of the big studios, they don’t have much to do with cinema, which is doing just fine, as you and I keep saying and writing and muttering. The Oscars generated lower ratings and angry snark when independent films like “Breaking the Waves” and “Secrets & Lies” received nominations in 1997 — “The English Patient” swept, winning best picture — only to rebound with “Titanic” the next year.SCOTT The more things change, the more they stay the same. One thing that has gotten worse is the unfortunate journalistic habit of equating the state of the Oscars with the state of movies. Even when television is great, the Emmys are terrible. Nobody seriously thinks that bad Grammy Awards spell the death of pop music, or that a given year’s National Book Awards reveal much about the health of literature. But movie journalism has elevated the Oscars to a position of absurd importance.“CODA” was the first Sundance premiere to win best picture.Ruth Fremson/The New York TimesDARGIS As an epic-sized commercial for movies, the Oscars just don’t often make good television. That’s kind of funny-strange given how many movies look like TV, which means it’s time to bring up Apple TV+’s “CODA.” It’s hard to believe it would have won best picture if voters had been forced to watch it on the big screen, though maybe it would have. It’s a nice, little, pedestrian heart-tugger, so it fits perfectly on TV. It’s the kind of movie that we’ve seen repeatedly at Sundance; but it isn’t the kind that inspires colleagues to proselytize about it the way they did with, say, “Beasts of the Southern Wild.” But that’s the Oscars, right? One year, “Moonlight” wins; two years later, “Green Book” does — and then, boom, “Parasite” wins.SCOTT “CODA” is the first best picture winner to premiere at Sundance, as well as the first to be distributed by a streaming service. It also won all of the three categories in which it was nominated, none of which were for lead performances or technical achievements, making it a fascinating outlier. Its victories — especially Troy Kotsur’s supporting actor win, a wonderful Oscar-night moment — are part of the academy’s continuing efforts to present a more diverse, inclusive face to the world.And it’s worth pointing out that the 94th Oscars were not so white, or so male, as most of their precursors. For the second year in a row — and the third time ever — the best director is a woman. The best picture was directed by a (different) woman. The best documentary feature is the work of a Black filmmaker, Ahmir “Questlove” Thompson. The best supporting actress, Ariana DeBose, is the first openly queer woman of color to win an acting Oscar. You and I have been covering Hollywood long enough to be wary of overstating its progress or believing its promises, but I also wonder if the defensiveness and insecurity that surround the Oscar broadcast amounts to a form of backlash.DARGIS Both Kotsur’s and DeBose’s acceptance speeches were lovely, and each offered moments of grace during an otherwise often awkward, poorly paced slog of three and a half hours, plus change. As to your wondering if the increasing diversity of the awards winners has provoked a backlash — well, yeah, I bet! The movie industry is changing and is no longer the citadel of white male power that it once was. At the same time, the old guard is holding strong and the Oscars often seem more like aspirational visions of the industry rather than its reality.SCOTT Aspirational and also, as we saw last night, wildly dysfunctional. That’s entertainment! More

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      Ariana DeBose Becomes the Second Latina to Win an Acting Oscar

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      Ariana DeBose won the Oscar for best supporting actress for her role as Anita in Steven Spielberg’s adaptation of “West Side Story.” It is her first Academy Award. The outcome was expected but historic nonetheless as the 31-year-old actress becomes only the second Latina to nab an Oscar. The first one was Rita Moreno, who won in 1962 for the same role in the original film version. DeBose is also the first openly queer star to win an acting Oscar.DeBose beat out Jessie Buckley (“The Lost Daughter”), Judi Dench (“Belfast”), Kirsten Dunst (“The Power of the Dog”) and Aunjanue Ellis (“King Richard”). In accepting the award, DeBose made reference to being a queer woman of color and said:Imagine this little girl in the back seat of a white Ford Focus. Look into her eyes. You see a queer — openly queer — woman of color, an Afro-Latina, who found her strength in life through art, and that’s what I believe we are here to celebrate. So to anybody who has ever questioned your identity — ever, ever, ever, — or you find yourself living in the gray spaces, I promise you this: There is indeed a place for us.DeBose also nabbed statues at the Screen Actors Guild Awards and the British Academy Film Awards for her magnetic performance as an America-loving seamstress who adores both Bernardo and his younger sister, Maria. The actress-singer-dancer has also been nominated for a Tony for her role as Donna Summer in the short-lived musical “Summer: The Donna Summer Musical.”DeBose will next be seen in Matthew Vaughn’s spy movie, “Argylle,” for Apple TV+. More

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      Oscars 2022 Predictions: Who Will Win Best Picture, Actor and Actress?

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      In an interesting year with a duel for the top award and some wide-open races, here’s how our expert is marking his ballot.Best PictureEmilia Jones and Troy Kotsur having a moment in “CODA.”Apple TV+, via Associated Press“Belfast”✓“CODA”“Don’t Look Up”“Drive My Car”“Dune”“King Richard”“Licorice Pizza”“Nightmare Alley”“The Power of the Dog”“West Side Story”In a novel twist, this race has become a face-off between the best picture candidate with the most Oscar nominations (“The Power of the Dog,” with 12) and the one tied for the least (“CODA,” with just three). Still, “CODA” has recently surged after key wins with the actors, writers and producers guilds, the sort of bounty that almost always points the way to best picture victory. Though it’s awfully rare for a film to win Hollywood’s top prize without nominations for editing and directing — in fact, it hasn’t happened since 1932’s “Grand Hotel” — “CODA” can bypass those statistical precedents with an appeal that goes straight to the heart. In a year when I think voters are desperate to crown a crowd-pleaser, “CODA” is the clear favorite.Still, “The Power of the Dog” shouldn’t be counted out: Netflix has spent heavily to try to earn the streamer’s first best picture win, and the film’s 12 nominations indicate broad strength across several different branches of the academy. The tricky part is that the Oscars use a preferential ballot, which asks voters to rank the 10 nominees and tends to produce a winner that consistently shows up in the No. 1 and No. 2 slots. That favors a likable consensus choice like “CODA” instead of the more polarizing “Power of the Dog,” which will have to net a whole lot of No. 1 votes to offset the ballots cast by voters who found Campion’s film a little too austere.Best DirectorJane Campion, right, with associate producer Phil Jones, during production.Kirsty Griffin/NetflixKenneth Branagh, “Belfast”Ryusuke Hamaguchi, “Drive My Car”Paul Thomas Anderson, “Licorice Pizza”✓ Jane Campion, “The Power of the Dog”Steven Spielberg, “West Side Story”Campion is the first woman to be nominated for best director twice, and her win could make even more Oscar history, since it would follow Chloé Zhao’s “Nomadland” victory and mark the first time this Oscar has gone to women two years in a row. It’s true that Campion stepped into a controversy of her own making at the Critics Choice Awards, where she compared herself to Venus and Serena Williams but said the tennis superstars had never had to compete against men like Campion had. That diminishment of the sisters’ accomplishments caused an internet furor, but the older-skewing academy rarely pays attention to social-media conflagrations, and Campion remains the prohibitive favorite.Best ActorWill Smith opposite Demi Singleton, left, and Saniyya Sidney in “King Richard.”Warner Bros. Javier Bardem, “Being the Ricardos”Benedict Cumberbatch, “The Power of the Dog”Andrew Garfield, “Tick, Tick … Boom!”✓ Will Smith, “King Richard”Denzel Washington, “The Tragedy of Macbeth”The best actor Oscar rarely goes to young men, and bankable movie stars like Leonardo DiCaprio and Matthew McConaughey were only able to win it once they were on the other side of 40 and had paid an appropriate amount of dues. That’s why Smith is so perfectly situated: His two other nominations, for “Ali” and “The Pursuit of Happyness,” came when he was a superstar in his 30s, and now that he is a lightly grizzled 53-year-old who has proved himself over four decades, the timing is right for his first Academy Award win. All the better that in playing the father of the tennis phenoms Venus and Serena Williams in “King Richard,” Smith has found a character-actor role that he can animate with every ounce of his movie-star charisma.Best ActressJessica Chastain as the Christian broadcaster Tammy Faye Bakker.Fox Searchlight Pictures✓Jessica Chastain, “The Eyes of Tammy Faye”Olivia Colman, “The Lost Daughter”Penélope Cruz, “Parallel Mothers”Nicole Kidman, “Being the Ricardos”Kristen Stewart, “Spencer”Last year’s best actress winner, Frances McDormand, had a leg up on her competition by hailing from the best picture winner, “Nomadland.” This year, none of the best actress nominees come from movies in the best picture race at all, which gives you a sense of just how wide-open this field is. Chastain won the Screen Actors Guild Award for her role as the disgraced evangelist Tammy Faye Bakker, but this could really go to any of the five nominees: Chastain, Stewart and Kidman all gave the kind of transformative biopic performances that Oscar voters love, while Colman and Cruz are critical favorites from much better-reviewed films. I’m going to play it safe by picking Chastain, but feel free to live dangerously in your own Oscar pool.Best Supporting ActorTroy Kotsur opposite Marlee Matlin as his wife in “CODA.”Apple TV+, via Associated PressCiaran Hinds, “Belfast”✓ Troy Kotsur, “CODA”Jesse Plemons, “The Power of the Dog”J.K. Simmons, “Being the Ricardos”Kodi Smit-McPhee, “The Power of the Dog”Smit-McPhee was recognized by year-end critics’ groups for his performance as Kirsten Dunst’s crafty son in “The Power of the Dog,” but once the televised awards shows began to weigh in, Kotsur cleaned up at SAG, the Indie Spirits and BAFTA. With his warm and funny acceptance speeches at those ceremonies, Kotsur has become this season’s breakout performer, and the Oscars can surely count on him for a winning moment that is both heartfelt and historic, since Kotsur would be the first deaf man to earn an acting Oscar. He is instrumental to the tear-jerking third act of “CODA,” and he has a personal narrative every bit as compelling as what you see on the screen. This is Kotsur’s to lose.Explore the 2022 Academy AwardsThe 94th Academy Awards will be held on March 27 in Los Angeles.Best Actress Race: Who will win? There are cases to be made for and against each contender, and no one has an obvious advantage. Hollywood Legend: Danny Glover will receive an honorary Oscar for his activism. He spoke to The Times about his life in movies and social justice.A Makeover: On Oscar night, you can expect a refreshed, slimmer telecast and a few new awards. But are all of the tweaks a good thing?Return to the Playground: For his Oscar-nominated short film “When We Were Bullies,” Jay Rosenblatt tracked down his fifth-grade classmates.Secret Sounds: Denis Villeneuve and the “Dune” sound team explain how far they went to create an aural experience that felt familiar.Best Supporting ActressAriana DeBose, with David Alvarez, in “West Side Story.”Niko Tavernise/20th Century StudiosJessie Buckley, “The Lost Daughter”✓ Ariana DeBose, “West Side Story”Judi Dench, “Belfast”Kirsten Dunst, “The Power of the Dog”Aunjanue Ellis, “King Richard”It’s Anita’s America, and we’re just living in it. The key supporting role in “West Side Story” has proved to be catnip for Oscar voters across decades: Rita Moreno won the Oscar for her Anita in the 1961 film, and DeBose is well-positioned to repeat for playing the part in Steven Spielberg’s reimagining. Musical performances often do quite well in this category, as previous winners Anne Hathaway (“Les Misérables”) and Jennifer Hudson (“Dreamgirls”) can attest, but if there’s a dark horse in the race, I’d look to Dunst: She’s worked with a lot of academy members who can appreciate the hard-earned awards breakthrough she managed with “The Power of the Dog.”Best Original ScreenplayLeonardo DiCaprio and Jennifer Lawrence in “Don’t Look Up.”Niko Tavernise/Netflix“Belfast”✓“Don’t Look Up”“King Richard”“Licorice Pizza”“The Worst Person in the World”This is one of the night’s toughest races. Many of my fellow pundits are picking Kenneth Branagh’s “Belfast,” but if it couldn’t win in this category at the BAFTAs despite being a box-office hit in Britain, I don’t expect a sudden reversal from the academy. Besides, Oscar voters tend to take the “original” part of this category very seriously, voting for films that feel sui generis. To my mind, that leaves “Licorice Pizza” (which won the BAFTA), “Don’t Look Up” (which won the WGA Award) and “The Worst Person in the World,” which could earn votes here in a race where it doesn’t face “Drive My Car.” Ultimately, I think that the environmental satire “Don’t Look Up” prevails because of its topical, urgent subject matter.Best Adapted ScreenplayEmilia Jones as the hearing daughter of deaf parents in “CODA.”Apple TV+✓ “CODA”“Drive My Car”“Dune”“The Lost Daughter”“The Power of the Dog”The path to best picture almost always cuts through the screenplay categories, so this race could provide a crucial sneak preview of the night’s ultimate winner, especially because it contains another face-off between “The Power of the Dog” and “CODA.” The latter film won at the Writers Guild, where “The Power of the Dog” wasn’t eligible for a nomination — but at BAFTA, where both films competed, “CODA” still pulled out a victory. If “CODA” (adapted from the French film “La Famille Bélier”) can win over a snobby bunch of British voters, there’s no reason to think it will fall short with the academy.Best Animated FeatureA scene from “Encanto,” with Stephanie Beatriz voicing the central character, Mirabel. Disney✓ “Encanto”“Flee”“Luca”“The Mitchells vs. the Machines”“Raya and the Last Dragon”“The Mitchells vs. the Machines” has won most of the awards doled out by the animation industry, and it shares an innovative elan — as well as the producers Phil Lord and Christopher Miller — with “Spider-Man: Into the Spider-Verse,” which previously triumphed in this category. Still, it will be tough for any film to beat “Encanto,” which has the year’s most viral song, “We Don’t Talk About Bruno,” as well as a popular pitchman in the songwriter Lin-Manuel Miranda. The Mitchells may have triumphed in their battle against the Machines, but “Encanto” boasts even heavier artillery.Best Documentary FeatureNina Simone, as seen in “Summer of Soul.”Searchlight Pictures, via Associated Press“Ascension”“Attica”“Flee”✓ “Summer of Soul”“Writing With Fire”This race is filled with worthy contenders, including the animated refugee story “Flee,” which made Oscar history when it was nominated in the documentary, animated and international categories. But “Flee” is up against juggernaut front-runners in all of those races, and here, that No. 1 pick has got to be “Summer of Soul,” the Questlove-directed documentary about the 1969 Harlem Cultural Festival. Oscar voters often fall for music docs — past winners include “Searching for Sugar Man” and “20 Feet From Stardom” — and the previously lost concert footage of artists like Nina Simone, Stevie Wonder and Mahalia Jackson is catch-your-breath, stomp-your-feet wonderful.Best International FeatureReika Kirishima, left, and Hidetoshi Nishijima in “Drive My Car.”Sideshow and Janus Films“Lunana: A Yak in the Classroom,” Bhutan“Flee,” Denmark“The Hand of God,” Italy✓ “Drive My Car,” Japan“The Worst Person in the World,” NorwayThis should be a no-brainer, since voters gravitate to films in this category that have also made the best picture and best director lineups. (Think “Amour,” “Roma” and “Parasite.”) Therefore, the odds favor “Drive My Car,” Ryusuke Hamaguchi’s insightful three-hour drama about grief and art, which swept the major critics’ groups and kept amassing momentum as awards season continued. Still, I’d keep a watchful eye on the wonderful romantic dramedy “The Worst Person in the World,” which came out awfully late this season and has been winning a healthy share of Hollywood admirers. If enough voters gravitate to that Norwegian film because they think “Drive My Car” is taken care of, Hamaguchi’s breakthrough may run out of gas before reaching its destination.Best CinematographyBenedict Cumberbatch, left, and Kodi Smit-McPhee in “The Power of the Dog.”Kirsty Griffin/Netflix“Dune”“Nightmare Alley”✓“The Power of the Dog”“The Tragedy of Macbeth”“West Side Story”“Dune” won at BAFTA and with the cinematographers guild, and it’s probably the safer choice. But there have been several recent profiles of the “Power of the Dog” cinematographer Ari Wegner, who would become the first woman to win this Oscar. In a squeaker, that’s who I’m picking.Best ScoreZendaya in “Dune,” which has music by Hans Zimmer.Warner Bros. “Don’t Look Up”✓“Dune”“Encanto”“Parallel Mothers“The Power of the Dog”Even more than the powerhouse visuals, the rumbling, uneasy score of “Dune” makes the best case for watching the movie in a theater.Best SongDaniel Craig and Ana de Armas in “No Time to Die,” which is also the title of its nominated song.Nicola Dove/MGM, via Associated Press“Be Alive” (“King Richard”)“Dos Oruguitas” (“Encanto”)“Down to Joy” (“Belfast”)✓“No Time to Die” (“No Time to Die”)“Somehow You Do” (“Four Good Days”)If “Encanto” had submitted “We Don’t Talk About Bruno” instead of “Dos Oruguitas,” or if Beyoncé had done any campaigning for her rousing “King Richard” song, things might be different. But since they didn’t, expect a victory for Billie Eilish and Finneas for “No Time to Die,” the third James Bond theme to win in a row.Best Sound“Dune” is nominated for audible effects like sand crunching. Warner Bros. “Belfast”✓“Dune”“No Time to Die”“The Power of the Dog”“West Side Story”The sounds of “Dune” are designed to hit you in the solar plexus, and they bleed into the score and the edit in all sorts of memorable ways. Plus, the story behind crafting those sounds is fascinating: Who knew it involved Rice Krispies?Our Reviews of the 10 Best-Picture Oscar NomineesCard 1 of 10“Belfast.” More

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      Oscar Rewind: When Rita Moreno Made History and Thanked No One

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      The actress explains why she gave one of the shortest Academy speeches ever when she became the first Latina to win an acting Oscar 60 years ago.It was the night that cemented her place in history, and Rita Moreno almost skipped it.In February 1962, Moreno, then 30, was in the Philippines, shooting “Cry of Battle” — a black-and-white World War II film in which she played the English-speaking leader of a band of Filipino fighters. So when she found out that she had been nominated for her first Academy Award — for best supporting actress for her performance as Anita in “West Side Story” — she took a moment to celebrate. And then, she got pragmatic.As a star of “Cry of Battle,” she would still be needed on set — 7,300 miles from the Santa Monica Civic Auditorium, where that year’s Oscars ceremony would take place in April.“I was absolutely positive Judy Garland was going to win for ‘Judgment at Nuremberg,’” Moreno, now 90 and still vivacious and irreverent, said in a recent phone conversation from Carmel-by-the-Sea, Calif., where she was on a trip with her daughter.But then she won a Golden Globe — and had a change of heart. She bought an airplane ticket.“I flew into California thinking, ‘Hey, if there’s one iota of a chance that I may win, I need to be there,” said Moreno, who was up against Garland, Fay Bainter (“The Children’s Hour”), Lotte Lenya (“The Roman Spring of Mrs. Stone”) and Una Merkel (“Summer and Smoke”).It didn’t hurt that the film she was nominated for — “West Side Story,” Robert Wise’s adaptation of the Broadway musical — was a hit both at the box office and among critics, or that it had racked up 11 nominations, including best picture. The New York Times film critic Bosley Crowther called it “a cinema masterpiece.”But leading up to the ceremony, Moreno was so pessimistic about her chances that she practiced her “loser face” and made up speeches about how “it was a lousy movie” and she “didn’t want it anyway.” But her heart wasn’t in it. She did want to win — badly.So on April 9, 1962, when Rock Hudson opened the envelope, paused, then read her name — making Moreno, who is Puerto Rican, the first Latina actress to win an Academy Award — her saucer-size eyes and open mouth said it all.Explore the 2022 Academy AwardsThe 94th Academy Awards will be held on March 27 in Los Angeles.A Makeover: On Oscar night, you can expect a refreshed, slimmer telecast and a few new awards. But are all of the tweaks a good thing?Best Actress Race: Who will win? There are cases to be made for and against each contender, and no one has an obvious advantage.A Hit: Ryusuke Hamaguchi’s “Drive My Car” is the season’s unlikely Oscar smash. The director Bong Joon Ho is happy to discuss its success.  Making History: Troy Kotsur, who stars in “CODA” as a fisherman struggling to relate to his daughter, is the first deaf man to earn an Oscar nomination for acting. ‘Improbable Journey’: “Lunana: A Yak in the Classroom” was filmed on a shoestring budget in a remote Himalayan village. In a first for Bhutan, the movie is now an Oscar nominee.“I didn’t expect to win,” Moreno said, then added with a laugh, “No one who’s watched it can argue with that.”But as she walked to the stage in her Pitoy Moreno gown, with a voluminous black-and-gold skirt and black sleeveless top, open-mouthed every step of the way, she had just one thing on her mind. (Well, two: The first, she said, was “Don’t run; it’s not dignified.”)“I remember thinking very clearly, ‘Do not thank anyone,’” she said. “They didn’t give you the part as a favor. They were forced to give it to you because you did the best screen test.”She delivered one of the shortest acceptance speeches in Oscars history: “I can’t believe it! Good Lord! I leave you with that.” It lasted just seven seconds.“I ran out of anything to say once I decided I wasn’t going to say thank you,” she said. “And I’ve been trying to make up for it with long acceptance speeches ever since.”But offstage, her night was only getting started: After accepting the award from Hudson, she ran into Joan Crawford backstage, who was there to present the best actor award and, as Moreno put it, “drunk as a skunk on vodka.”“She hugged me so hard she covered my face entirely,” Moreno said. “She was built like a linebacker. And she’s hugging me and the photographer is saying ‘Miss Crawford, I can’t see your face. Would you please uncover your face?’”Backstage Moreno missed the night’s other most memorable bit of drama: A New York City cabdriver, upset that Bob Hope hadn’t been nominated for his role as a radio host in “The Big Broadcast of 1938,” sneaked in, climbed onstage and announced, “Ladies and gentleman, I’m the world’s greatest gate-crasher and I just came here to present Bob Hope with his 1938 trophy.”He promptly produced a homemade statuette.“Really?” Moreno said when told of the episode. “I don’t recall that at all! I must’ve won the Oscar just before that and been in the press room. That’s the only way I wouldn’t remember that. That’s unforgettable.”Moreno didn’t linger too long after her big win, as she had a 15-hour flight back to Manila the next day. Her early departure also meant she missed all the phone calls, flowers and telegrams that arrived for her in the United States. But a friend told her later that up and down El Barrio in New York — Latinos stuck their heads out their windows the moment Hudson announced Moreno’s name — and screamed.“I was deprived of all of that wonderfulness because I had to go back and make this [expletive] war movie in Manila,” she said.Our Reviews of the 10 Best-Picture Oscar NomineesCard 1 of 10“Belfast.” More

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      Rita Moreno and Ariana DeBose on 'West Side Story

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      “Hello, birthday queen,” Ariana DeBose said, greeting her “West Side Story” castmate Rita Moreno, newly and notably aged 90.It was Sunday afternoon, and DeBose, 30, was in bed at her home on the Upper East Side, propped up on pillows, her rescue cats, Isadora Duncan and Frederick Douglass, occasionally parading through the Zoom call. Moreno was across the country, at home in Berkeley, Calif., camera-ready above the waist in a red sweater and mega-jewelry, but stealthily in pink pajamas and fluffy slipper socks below. How were her many birthday celebrations? “I’m happy to report that they’re endless,” she said. “I do feel queenly and royal.”Moreno, who arrived in New York from Puerto Rico in 1936, famously won an Oscar — the first Latina to do so — for playing Anita in the 1961 “West Side Story.” DeBose, who grew up in North Carolina and describes herself as Afro-Latina, is earning critical raves and awards chatter as Anita in Steven Spielberg’s new version, which also features Moreno in the newly created role of Valentina, a shopkeeper.In a video interview, they spoke about identity, fighting stereotypes and getting notes from Stephen Sondheim, the original lyricist. They both dropped an expletive or two; songs and admiration spilled forth. “I just know this movie is going to make it into the Oscars in many ways,” Moreno said. These are edited excerpts from the conversation.Moreno in the original 1961 film.Silver Screen Collection/Getty ImagesDeBose in the new Steven Spielberg version.Niko Tavernise/20th Century StudiosAriana, you’ve said your own identity was important in what you brought to the role. How did you discuss that with the creative team?DeBOSE It was one of the first things I brought up. My first audition. I didn’t know Steven was going to be there, and I decided to just do what I needed to do, to represent myself well and what I could offer. Toward the end, he asked if there was anything else he needed to know, and I was like, if you’re not interested in exploring the Afro-Latin identity, and finding ways to incorporate it or talk about that, you probably shouldn’t hire me. I didn’t want to feel like I was just checking a box for them, you know. It is a real lived experience, and it’s not something we talk about often. In fact, it wasn’t until my adulthood that I really was able to clock that you can be Black and Puerto Rican — and my mother is white. You can be all of those things. And I’m queer, so there’s a lot going on there. I was very adamant that we should either explore it, or you shouldn’t go down the path with me.Steven, when we were filming, was like, does this actually feel authentic to you? And if not, we should change it. I could answer from my perspective, of course, but I didn’t grow up in 1957. They brought folks to speak to us who lived in San Juan Hill during this time. There was an Irish gang member, Puerto Ricans who were living on the blocks at the time. Rita and I didn’t really talk about the character a lot, but I found hearing about her lived experiences really helpful.DeBose brought up the issue of Afro-Latina identity in her first audition with Steven Spielberg: “I didn’t want to feel like I was just checking a box for them.”Erik Carter for The New York TimesDid you talk about the legacy of playing Anita?MORENO I didn’t. There was a very conscious reason. I knew what a delicate position Ariana was in. I wanted her to be absolutely sure that I didn’t impose anything on her. So as a good hostess, I decided to keep some of those thoughts to myself..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}She knew the enormity of it. I could see she was a very bright young woman, and there wasn’t a whole lot that I could tell her that would be helpful other than self-serving for myself. I tried very, very hard to help put her at ease and to be as fair as I could with respect to any envy I might have felt — and by the way, I did. I mean, I’d be brain-dead if I didn’t.Ariana, you’ve said you a mini panic attack when you first met Rita on the shoot. How did you recover?DeBOSE I’m still recovering. I actually, in my own naïveté, hadn’t clocked that I was going to be in the same room with her. And then the moment came, and I was like, oh, God.MORENO She was like a little deer in the headlights. I decided to take her to lunch, and then realized how nervous she was. I thought, I really have to do my best to help her relax. What I said was, be your own Anita. Not knowing her well at the time, I didn’t realize that she could only be her own Anita.What’s your response to critics who say the movie shouldn’t be revived at all because it brings up stereotypes, or it’s not of our era in terms of its origin?MORENO It does not bring up stereotypes. That’s bull [expletive], pure and unadulterated bull [expletive].The first time I saw the movie I was so overcome. I started to cry at the mambo at the gym [scene]. I was sitting next to my daughter, and she said, “Mom, why are you crying? This is so joyous.” I said, because Steven got it right. Those shots were incredible, and he got the spirit of what the musical numbers were about.DeBOSE And that’s why we retell classics. That’s what makes them classic, the ability to be retold and reimagined. You give things historical context so that you can better understand the text, to make it tangible.MORENO That’s where Tony Kushner [the screenwriter] comes in. He brought in the social elements of something that wasn’t even addressed in the original. That doesn’t make that first effort lesser. It’s still an iconic film. But on the other hand, it is astonishing to me how unfleshed-out the [original] characters were. I don’t think that was deliberate. I think it’s how they [the original creators] saw it. What was it like having Sondheim around?DeBOSE He was present, but I actually didn’t have much one-on-one interaction with him. They sent notes through Steven Spielberg — SS2, as he fondly proclaimed himself. Sondheim was SS1, and Spielberg was SS2. So either Jeanine [Tesori, the supervising vocal producer] or SS2 would come in, and we would chat, and then we’d go again, and we’d continue going until SS1 was happy.He talked about color. I remember when we were recording the Anita section of the [“Tonight”] Quintet, he was like, listen to that [imitating spiraling music]. That’s the color you’re going for, and then let the vocal fly.MORENO And that’s [singing], “Anita’s going to get her kicks, tonight …”DeBOSE Yes. The last half of it, he was like, go for something completely different. He talked with many of us just about being confident: Own your vocal. Which, I’ll be honest, was never really my issue — being confident. It was just finding the right thing because this vocal can go in a lot of different directions. What color am I singing here? I believe I went for magenta.Moreno said she broke down crying when shooting Anita’s attack in the original film: “The wounds never really go away.”Erik Carter for The New York TimesThe scene when Anita goes to Valentina’s shop and is attacked by the Jets is one of the most emotional in the film. It is obviously so dark, and so many different themes come up — gender, race, class. How did you talk about or prepare for it?DeBOSE There was a rehearsal day, and we had an intimacy coordinator there.MORENO What the hell is that? I’ve never heard of this before. It’s fascinating to me.DeBOSE A person who makes sure that we’re all comfortable with what’s going on.MORENO It means you don’t touch certain places?DeBOSE Exactly. You don’t touch certain parts of the body unless it’s agreed upon. She was really helpful because the Jet boys were so nervous about having to do this. We’d been working together for so long at that point — there was real love amongst us, and they were all very afraid of hurting me. I was like, I’m fine. Remember, I’m not Ariana, I’m Anita right now. But I was very grateful for that rehearsal because it just set boundaries for all of us. It ended up being a really safe psychological experience. Granted, that experience has not left me. I don’t watch that scene when I’m viewing the film. I can hear it, but actually physically watching it, it makes me sick a little.MORENO Oh, that’s heartbreaking.DeBOSE It’s very intense because you have so many bodies on top of you with the impetus to hurt you, and even though it’s a simulated thing, your body doesn’t actually know the difference.MORENO And you know what? It isn’t just your body. Your brain and your heart — because that’s what made me end up in just hysterical tears when I was doing the scene, and they had to stop shooting because I couldn’t stop crying. The wounds never really go away.DeBOSE I think because it’s a musical, people don’t realize, sometimes, the depth of the material. And this character, whether it’s Rita’s incarnation or my incarnation, this [expletive] gets real. The amount of grief and the assault on her person, it’s hard to watch. It’s even harder to perform.I have tremendous respect for anyone who has played this role because you don’t actually understand until you’re in it — and out of it — just how far you have to go to create a moment with this particular woman. MORENO She’s so charming; she’s funny. She has opinions that she’s not afraid to voice. All of that fools you. You still have to play the wounds and the insults.DeBOSE And if it’s not making you uncomfortable as a viewer, I would say you need to go analyze some things in yourself.What do you feel you learned from playing Anita and from what she represents?MORENO For me, it was a revelation because I realized midway through the [first] film, that I actually found my role model at the age of something like 28, and it was Anita. I had never played a Hispanic woman who had that kind of dignity and the sense of self-respect, and fearless in terms of expressing what she needed to express.DeBOSE She’s taught me a lot about forgiveness. You take things personally in this industry, but it’s a healthier path to choose to forgive. And it’s not an easy path. I mean, me? I would have knocked the [expletive] out of Maria. That is the one moment in the piece, whether it’s onstage or film — I don’t know if that’s actually what would happen in the world. Because it’s very hard to make that choice when you are in that moment of grief.MORENO It’s not only forgiveness, as expressing how important a part love plays in one’s life. “When love comes so strong, there is no right or wrong.”DeBOSE That line — that’s what the whole moment’s about. No matter what happens, you can be so angry at someone and still love them very deeply. The love doesn’t die. It may transform. It may shift shapes. But there’s always love.Moreno and DeBose didn’t discuss Anita’s legacy but both found inspiration in the role.Erik Carter for The New York Times More

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      in Theater

      ‘West Side Story’ Review: In Love and War, 1957 Might Be Tonight

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      Steven Spielberg rediscovers the breathing, troubling essence of a classic, building a bold and current screen musical with no pretense to perfection.“West Side Story” sits near the pinnacle of post-World War II American middlebrow culture. First performed on Broadway in 1957 and brought to the screen four years later, it survives as both a time capsule and a reservoir of imperishable songs. What its creators attempted — a swirling fusion of literary sophistication and contemporary social concern, of playfulness and solemnity, of realism and fantasy, of street fighting and ballet — hadn’t quite been attempted before, and hasn’t been matched since.The idea of harnessing the durable tragedy of “Romeo and Juliet” to the newsy issues of juvenile delinquency and ethnic intolerance must have seemed, to Leonard Bernstein, Jerome Robbins, Arthur Laurents and Stephen Sondheim, both audacious and obvious. In the years since, “West Side Story” has proved irresistible — to countless high-school musical theater programs and now to Steven Spielberg, whose film version reaffirms its indelible appeal while making it feel bold, surprising and new.This isn’t to say that the show has ever been perfect. Sondheim, who wrote the lyrics (and who died just after Thanksgiving at 91), frequently disdained his own contributions, including the charming “I Feel Pretty.” The depiction of Puerto Rican and Anglo (or “gringo”) youth gangs has been faulted for sociological imprecision and cultural insensitivity. Shakespeare’s Verona might not translate so easily into the slums of mid-20th-century Manhattan.But perfection has never been a relevant standard for musicals. The genre has always been a glorious, messy mash-up of aesthetic transcendence and commercial ambition, a grab-bag of styles and sources held together by the energy, ingenuity and sheer chutzpah of scrappy and resourceful artists. This may be especially true at the movies, where the technology of cinema can enhance and also complicate the artistry..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Spielberg’s version, with a screenplay by Tony Kushner that substantially revises Laurents’s book and new choreography by Justin Peck that pays shrewd tribute to Robbins’s genius, can’t be called flawless. The performances are uneven. The swooning romanticism of the central love story doesn’t always align with the roughness of the setting. The images occasionally swerve too bumpily from street-level naturalism to theatrical spectacle. The seams — joining past to present, comedy to tragedy, America to dreamland — sometimes show.But those seams are part of what makes the movie so exciting. It’s a dazzling display of filmmaking craft that also feels raw, unsettled and alive. Rather than embalming a classic with homage or aggressively reinventing it, Spielberg, Kushner, Peck and their collaborators (including the cinematographer Janusz Kaminski, the production designer Adam Stockhausen, the editors Sarah Broshar and Michael Kahn and the composers Jeanine Tesori and David Newman) have rediscovered its breathing, thrilling essence.The 1961 movie, directed by Robbins and Robert Wise, was partly filmed on location in a neighborhood that was already vanishing. In Spielberg’s 1957, the destruction is well underway. Wrecking balls and cranes tower over piles of smashed masonry that were once tenement buildings. A sign posted at one of the demolition sites shows a rendering of the shiny Lincoln Center arts complex that will rise where the slums once stood.This “West Side Story” is explicitly historical, grounded in a specific moment in New York City’s past. Kushner (whom I profiled in a recent issue of T, The New York Times Style Magazine) has brought a level of scholarly care to the screenplay far beyond what Laurents and the others were able or willing to muster.Shakespeare’s play supposes “two households, both alike in dignity”; in Act III, Mercutio famously calls down “a plague” on both of them. But such symmetry, while structurally necessary to the source material — who were the Montagues and Capulets, anyway, and who really cares? — doesn’t map easily onto the West Side as Kushner and Spielberg understand it.David Alvarez at center as Bernardo, leader of the Sharks, in the film.Niko Tavernise/20th Century StudiosThe Jets and the Sharks, a white teenage gang and their Puerto Rican antagonists, aren’t mirror images of each other. Ostensibly contending for control over a few battered blocks in the West 60s, they collide like taxis speeding toward each other on a one-way street.The Sharks are children of an upwardly striving, migrant working class, a generation (or less) removed from mostly rural poverty in the Caribbean and determined to find a foothold in the imperial metropolis, where they are greeted with prejudice and suspicion. Bernardo (David Alvarez), their leader, is a boxer. His girlfriend, Anita (Ariana DeBose), works as a seamstress, while his younger sister, Maria (Rachel Zegler), toils on the night shift as a cleaner at Gimbels department store. Chino (Josh Andrés Rivera), who Bernardo and Anita believe would be a good match for Maria, is a bespectacled future accountant. (But of course Maria falls for Tony, a reluctant Jet played by the heartthrobby Ansel Elgort.) All of them have plans, aspirations, dreams. The violence of the streets is, for Bernardo, a necessary and temporary evil, something to be overcome through hard work and communal cohesion on the way to something better.The Jets, by contrast, are the bitter remnant of an immigrant cohort that has, for the most part, moved on — to the Long Island suburbs and the bungalows of Queens, to a share of postwar prosperity. As the policemen Officer Krupke (Brian D’Arcy James) and Lieutenant Schrank (Corey Stoll) are on hand to explain — and as the Jets themselves testify — these kids are the product of family dysfunction and societal neglect. Without aspirations for the future, they are held together by clannish loyalty and racist resentment — an empty sense of white entitlement and a perpetually expanding catalog of grievances. Their nihilism is embodied by Riff (the rangy Mike Faist), the kind of brawler who would rather fight than win.As the song says: “Life can be bright in America/If you can fight in America.” But what lingers after this “West Side Story” is a darkness that seems to belong more to our own angry, tribal moment than to the (relatively) optimistic ’50s or early ’60s. The heartbreak lands so heavily because the eruptions of joy are so heady. The big comic and romantic numbers — “Tonight,” “America” and, yes, “I Feel Pretty” — burst with color and feeling, and the silliness of “Officer Krupke” cuts like an internal satire of some of the show’s avowed liberal pieties.The cast members — notably including Rita Moreno, who was Anita in 1961 and who returns as a weary, wise pharmacist named Valentina — bring exactly the sincerity and commitment that a movie like this requires. There’s a reason “West Side Story” is a staple of the performing arts curriculum, and for all the Hollywood bells and whistles, the essence of Spielberg’s version is a bunch of kids snapping their fingers and singing their hearts out.The voices are, all in all, pretty strong. Zegler sings some of the most challenging numbers with full-throated authority, but she and Elgort don’t fully inhabit the grand, life-altering (and -ending) passion that their roles require. Tony and Maria are sweet and likable, but also a bit bland, and their whirlwind progress from infatuation to eternal devotion, which unfolds over a scant two days, feels shallow against the big, complicated forces moving around them.This is partly a consequence of Kushner and Spielberg’s commitment to realism and historical nuance, and in some ways it works to the movie’s advantage. The center of tragic gravity shifts away from Tony and Maria to Bernardo and Anita, and also to Riff. It helps that Alvarez, Faist and — supremely — DeBose are such magnetic performers. When DeBose is onscreen, nothing else matters but what Anita is feeling. But the characters also have a deeper, more complicated stake in the story. They aren’t just foils or catalysts for the action, as their counterparts are in Shakespeare. They are the ones for whom the question of what it is to be in America becomes a matter of life and death.West Side StoryRated PG-13. Never was a story of more woe. Running time: 2 hours 36 minutes. In theaters. More

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      in Movies

      ‘West Side Story’ Star Ariana DeBose Is Always Ready for Her Next Role

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      After dancing in ‘Hamilton’ and playing Anita in Steven Spielberg’s new musical adaptation, the actress has her sights on a part entirely her own.On a recent fall evening, the actress Ariana DeBose was ordering soup at a cafe near her apartment in New York’s Upper East Side, the lower half of her face covered by a commemorative mask from the reopening of the Broadway show “Six.” DeBose, 30, has no professional relationship to the musical — a poppy reimagining of the lives of Henry VIII’s wives with an emphasis on female empowerment — but her boldly displayed endorsement of the production set a perfect tone for our conversation that night about the women, artists and opportunities that have contributed to making her one of the most sought-after musical theater actresses of her generation. Few performers are shy when it comes to discussing their influences and obsessions, but in DeBose’s telling, it’s impossible to separate any step of her career from the people who helped her get there.She has indeed been in good company. Growing up in Raleigh, N.C., DeBose began dancing competitively at age 7 — she says she “started with the whole ‘ballet, tap, jazz’ of it all” — and dreamed of becoming a backup dancer for Madonna. Soon after finishing high school, she was a finalist on the reality TV show “So You Think You Can Dance.” And over the past decade, she has starred in six back-to-back Broadway musicals and booked two stage-to-screen adaptations, the most recent of which, Steven Spielberg’s “West Side Story,” comes out next month. But while her list of collaborators includes greats like Lin-Manuel Miranda — she played a supporting role in the original production of “Bring It On: The Musical” in 2011 and the Bullet in “Hamilton” from 2015 to 2016 — as well as Robert De Niro (“A Bronx Tale”), Adrienne Warren (“Bring It On”), Diane Paulus (“Pippin”), LaChanze (“Summer: The Donna Summer Musical”) and the entire starry cast of Ryan Murphy’s “The Prom” (2020), it’s her offstage relationships especially that would make any up-and-comer swoon.While still in high school, she joined the actors Charlotte d’Amboise and Terrence Mann’s musical theater summer intensive, Triple Arts, at Western Carolina University, and the legendary stage couple took DeBose under their wing, coaching her for auditions and encouraging her to skip college and go straight to Broadway. Following that advice paid off — “I had the benefit of learning in real time,” DeBose says — and she was soon cast in “Bring It On.” When the cheerleading acrobatics that that show required began to take a toll, DeBose’s mother suggested she rush a different show to cheer herself up, and she caught a performance of the 2011 revival of “Follies.” She was so mesmerized by the veteran actress Jan Maxwell’s turn as former showgirl Phyllis Rogers Stone that she left a note for her at the stage door afterward. Months later, DeBose received a call from a friend who was starring alongside Maxwell; apparently, Maxwell, having related to the professional doubts DeBose had expressed in her note, had taped it to her dressing room mirror for inspiration. The two women struck up a friendship that lasted until the older actress’s death in 2018.Proenza Schouler coat, $7,500, proenzaschouler.com; and Panconesi earrings.Photograph by Cheril Sanchez. Styled by Yohana LebasiSuch a charmed arrival onto the New York theater scene is almost unheard of and, aware that her current wealth of opportunities is rare, DeBose is determined to prove herself worthy of them. “I don’t ever want anybody to look at my work and think, ‘Why does she have that when they could’ve hired someone else?’” she says. “I don’t ever want to ask myself, ‘Did I do enough?’” It’s not impostor syndrome, she assures me, but rather a perfectionist impulse — one that led her, for example, to brush up on her little-used tap skills last year for her role as an old-timey schoolmarm in Apple TV’s musical series “Schmigadoon!” (2021); in between shooting in Vancouver she would take Zoom classes and watch YouTube tutorials in her hotel room.In other ways, too, there is something distinctly 21st century about DeBose’s career. Besides being an openly queer woman of Afro Latinx descent, she has bounced from role to role — often with little time to prepare — in a way that is reflective of our current gig economy. In the 1960s and ’70s, a performer with her skill set might have been cast in a single musical and ridden the wave of its success for years, touring with the production around the world and resting on the laureled association. But DeBose’s ability to move quickly through roles has reaped its own rewards: She has earned a Tony nomination and won a Chita Rivera Award — both for her most recent Broadway appearance, as Disco Donna, one of the leads in “Summer” — among other accolades. Her dancing in that show, as in each of her performances, had the precision and dynamism of a lifelong performing arts kid who stopped formal training just before conservatory programs could overwrite her natural inclination toward wild abandon. And so she can put her mark on choreographic work whether it is more exacting, as in “Hamilton,” or looser, as in “Bring It On.” She credits her versatility, too, to her knack for meeting directors and choreographers where they are. “Most creators are very intense, and each has their own brand of intensity, their own language,” she explains. “I think part of the reason I’ve been able to continue to book jobs is because I chose to learn how to speak other people’s artistic languages quickly.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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      Review: ‘Schmigadoon!’ Has a Song in Its Heart, and Everywhere Else

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      The Apple TV+ series both mocks and embraces the glories of classic musicals like “Brigadoon,” “Oklahoma!” and “Carousel.”Welcome to Schmigadoon, “where the men are men, and the cows are cows,” a magical musical land where Melissa and Josh (Cecily Strong and Keegan-Michael Key) find themselves stranded during a trip meant to rehabilitate their romance. At first they think it’s like Colonial Williamsburg, or a warped Disney experience, but they quickly buy into their new reality: They’re trapped in this wholesome, old-timey parallel universe until they learn the lessons about true love it is meant to impart. More