https://www.americanthinker.com/articles/2021/12/what_spielberg_gets_surprisingly_right_in_west_side_story.html
I had serious reservations about the Steven Spielberg version of the film classic West Side Story. Rumors of wokeness haunted the new movie from the first casting call through to its dismal opening weekend. I expected to wince throughout, but Spielberg did something brave and unexpected. He gave the Jets a rationale for their existence and their resistance.
The 1961 original did not. As a 14-year-old living in a “transitional” neighborhood very much like the one the Jets and Sharks inhabited and not far away, I fully identified with the white gang, the Jets. My friends, even my black friends, did as well. Despite our affection for our homies, we had a grudging respect for the Puerto Rican gang, the Sharks. Their guys were arguably cooler, their girls hotter.
Missed by liberal observers, then and now, is that vestigial urban whites saw Puerto Ricans not as another “race,” but as another ethnic group, no more alien than Italians were to Irish or Irish were to Germans in generations past. Like Tony, we would definitely date their girls if they’d have us. The absurd racial delineation for “Hispanics” would come later.
As much as I liked the original movie, however, it struck me even then as a confection. The Jets were too soft, feckless, even, especially Tony, their legendary leader. They seemed ungrounded, their defiance more cinematic than real. Spielberg’s critical revision was to root the new version in the real world of New York’s West Side circa the late 1950s. Much has been said about the “texture” he gave to the Puerto Rican characters, but he gave equal texture to the Jets. That is what surprised me. It would have been so easy in today’s environment to portray them as Archie Bunkers in training, Proud Boy wannabes, but he chose not to.
As the film makes clear from the opening scenes, redevelopers were leveling whole West Side neighborhoods to make way for the Lincoln Center complex. In fact, the producers of the original film used the vacated but as yet un-demolished buildings as backdrop for the street scenes. In this version, a wrecking ball seems to hover over every shot. The Jets and Sharks are contesting for limited space in a shrinking universe.