A film adaptation had been kicking around since at least November of that year, under various stars, directors, and studios (one of which, unfortunately, being Harvey Weinstein). After all the development limbo, and the COVID-19 pandemic delaying the film's release a full year, we have that film adaptation at last, now under the leadership of Step Up and Crazy Rich Asians director Jon M. Chu. I was fortunate enough to see this movie a month early, and I'm happy to say the wait was well worth it. In The Heights is terrific in every sense of the word, engaging not only as an emotionally fulfilling thematic drama, but as a rousing and joyous spectacle.
It's summertime in Washington Heights, and Usnavi (Anthony Ramos) goes through his daily routine: running a small convenience store with his cousin Sonny (Gregory Diaz IV), and saving up to move to his father's old seaside bar in the Dominican Republic. All the while, his old friend Nina (Leslie Grace) returns from college to visit her father Kevin Rosario (Jimmy Smits), revealing she had dropped out. She also rekindles her old spark with her ex Benny (Corey Hawkins), while Usnavi struggles with his own feelings for Vanessa (Melissa Barrera), who's saving up to move to a studio out of Washington Heights. As the summer heats up, those interweaving bonds also get tested, as the various characters will learn what the true meaning of home really is.
In the Heights comes with the ultimate boon of finding a natural champion in director Jon Chu. Despite a spotty track record, he's shown great capability in construction of a scene, if the material handed to him affords it. That challenge is more than matched by Miranda's songs, and original bookwriter Quiara Alegria Hudes' script. What we get, as a result, is a match made in Heaven between story and director, brought to life through a mutual confidence with the material.
If spectacle is what you came for, you won't be disappointed, as the musical numbers are where the film hits its creative apex. Featuring 16 of the Broadway production's original songs, the numbers are spaced out well across its 143 minute running time, becoming dazzling exercises in technical prowess in their own rights. Miranda's songs are such infectious earworms, tapping into the roots of his Washington Heights heritage, and the distinct Latinx musical flairs ranging from samba to hip-hop. Chu is more than up to the task of keeping up with the rhythm and vibrancy of Miranda's songs, showing great confidence in bringing them to life with unabashed visual inventiveness, right down to the movie's editing, at times directly mimicking the songs in time with the music. Things start off on a spectacular note with the introduction, arguably the best song of the original production, and an impressive, virtually flawless expository number to the film's distinct setting, style, and characters. And that's merely the appetizer of what's to come.
The choreography of the film is phenomenal to say the least. Both in the sense of the incredible dancing put on display, but also in the fluid way that the camera captures these sequences. With Chu's background in the Step Up films, this should hardly be a surprise, and the amount of skill and energy that the dancers afford to those sequences are stunning to watch. Even more so with the swift, expansive movement of the cinematography, which helps lend the film this surprising fantastical beauty, nicely offsetting the more serious tone of the script with this dreamlike aura, and some truly arresting artistry.
And the numbers bring both a great modern sensibility with the break dancing, but also an effective debt owed to classic musical tropes. "96,000" becomes an early highlight, with characters conversing with hypotheticals while wielding imaginary objects drawn in chalk style, before moving to a large community pool with break dancing groups, and synchronized swimming directly recreating Footlight Parade's water ballet sequence. Busby Berkely isn't the only debt the film owes, as later number "Paciencia y Fe" shows nods to Bob Fosse with Cabaret inspired staging, along with a possible nod to Gene Kelly, with "When the Sun Goes Down" showing lovebirds Nina and Benny dancing on the side of an apartment complex, with a lush pink sunset behind them. In "Carnival Del Barrio," I could swear Miranda himself makes a direct reference to Les Miserables. Those are just a few of the touching odes lending to the fantastical nature of the film, and just a few gorgeous moments in a film full of them.
If all of this makes In the Heights seem like style over substance, I swear it isn't, for the direction and songs are perfectly balanced by Hudes' updated script. The film, and its stage counterpart, are both an affectionate love letter to that Latinx heritage and culture, as well as touching on greater issues faced within that community. It's no surprise that some elements of the original show have been beefed up for the film, which they had to, and those topics are covered and updated gracefully in the movie. Topics of family and the ability to survive separated from them, poverty in a biased financial system intentionally built against Latinx people and poor classes, as well as systemic racism within the country, specifically the movie's addition, tackling the struggles of children under the DACA umbrella, something that comes in a bit late, but is thoughtfully integrated none the less. Hudes tackles such themes with fitting confidence and empathy, especially in our desire to see these characters overcome those struggles and achieve their goals.
Speaking of characters, they're brought to life by an absolutely terrific ensemble cast. Leading the charge is a stellar Anthony Ramos as Usnavi, perfectly recreating the youthful, if exhausted energy of Miranda's original creation, fueling the film with an unmistakable charisma and lovable dorky charm, as well as a richly fulfilling emotional center. Elsewhere, the other leading players are just as much a standout. Corey Hawkins proves witty and touching in filling the role of dispatch operator Benny, Melissa Barrera steals scenes as Usnavi's passionate and frustrated love interest Vanessa, while Leslie Grace becomes something of a breakout star as Nina, the one who made it out come home, and torn between what the future holds in store for her, and if that future is even what she really wants.
The supporting cast is additionally fun to watch, not only for the emotional weight they lend, but because you can clearly see they're having such fun. Greogory Diaz IV is both hilarious and affecting in his role as Sonny. The salon ladies - hilariously played by Daphne Rubin-Vega, Stephanie Beatriz, and Dascha Polanco - practically steal scenes every time they show up. Jimmy Smits as Nina's father is also a touching player whose bond, and his personal attempts at trying to understand and work with his daughter, lends some of the more poignant interplay in the film. But I think the one that people will really love is Olga Merediz as Abuela, the godmother to her corner of the Heights, whose soulful, witty, heartbreaking recreation of her Broadway counterpart utterly steals the show, with a performance worthy of serious awards traction come Oscar season.
And that's really what makes In the Heights so great, in that it's a film with a huge heart beating under the surface, especially in regards to its message and resolution. Through much of the film, there's this emphasis placed on feeling "home" and what that even is. And that becomes a touching, and oddly relatable area to tackle, regardless of racial barriers, is being able to find one's true place in the world, and making peace with their familial history. And this gives some poignant moments of realization to the film's ending, with the idea of home being what you make of it, and family based not merely on blood, but by bonds forged with the people you choose. As such, the film concludes on a truly satisfying note, and an emotionally fulfilling closer.
In the Heights isn't a perfect movie. It has its fair share of distractions in its framing device and the occasional cameo, but those pale in comparison to the sheer, escapist wonder and empathic depth otherwise established. It's a gorgeous love letter to its people and their heritage, as well as a breathtaking spectacle of an already awesome stage musical. The trio of Chu, Miranda, and Hudes have brought that original production vividly, extravagantly to life, filled with both incredible characters and musical numbers. Even for non-musical fans (and I saw this film with said people), it proves just as arresting, and a month since I initially saw it, I would say it's actually grown in my esteem since then, and I may actually prefer this version to the stage. It's THAT good!
And after the devastating year it's been since the outbreak of COVID-19, I feel like this is the film we needed right now. In the Heights is an absolutely joyous film from start to finish, and the perfect crowd pleaser to welcome audiences back with open arms. "Look at the fireworks..."
****1/2 / *****
No comments:
Post a Comment