I haven't... yet (wink). But I can only echo your issue with the new film not making sense of the even grittier versions of the Jets not being made sense of in the language of the film, and calling out that waiting at least a minute into the prologue (who remembers exactly how long?) to have the Jets start dancing, and making the Prologue mostly about the camera dancing and following the Jets around as they do grounded and non-dance movements most of the time, except for the inexplicable and awkwardly sporadic times they do turn into choreography... AND cutting the Sharks out of the prologue and the ballet-dancing-street-roaminig/waring prologue entirely... really messed up any chance of the gritty hard-scrabbled tough guys who pirouette making sense.
I think if you opening with the choreography and the music is used, as written, to underscore and motivate that, rather the using the music for the editing of the non-choreographed reality, then you don't have to make sense of it. Or... at least, you don't have to worry about it. That's the best you can do. Audiences will go with it or not. But it was designed to open this way for a reason... doing it that way, with the stylized street gang movement quickly morphing into the gang-ballet, at the beginning, is really the only chance you have of it working. |
