In The Heights
By Charlotte Dekle
Image Source: Social News XYZ
logline: A film version of the Broadway musical in which Usnavi, a sympathetic New York bodega owner, saves every penny every day as he imagines and sings about a better life.
Source: IMDb
Lights up on Washington Heights at the break of day, I wake up, and I got this review I have to write after watching this brilliant film. In The Heights is one of those summer celebrations that you never want to end. Permanently situated in an applause position, my hands were eager to clap for the vitality and emotion of every scene. I want to praise every individual aspect of this film because each component was perfectly executed. Let's start with the score. I know the score is from the musical, but it's pre-Hamilton Lin Manuel Miranda, so I'm preaching to the choir by saying the songs are excellent. The raps are quick and witty, and the line "Racism in this nation's gone from latent to blatant" in 96,000 stuck in my brain as the pinnacle of brilliance. But the show balances various complex musical genres without seeming tonally muddled. Look no further than the perfect opening eight-minute number (and the rhyming of maxi pads with taxi cabs) for examples of Miranda's genius. The book is equally as strong, although some storyline threads were left unsecured. Quiara Alegría Hudes also wrote the book for the musical, and it handles hefty material with sensitivity and humor. The story about trials and triumphs of immigrant experiences, the book encapsulates the despair and joy that comes with the life of a DREAMER. Jon M. Chu's direction is genuine splendor and a definite highlight; it's gorgeous to behold. It was also filmed in Washington Heights, which adds another layer of authenticity. One way that In The Heights is different from other movie musicals is its cinematic scope and camerawork. It doesn't feel like a stage musical that the filmmakers put to celluloid. Instead, it feels like a cinematic experience that happens to convey its plot through music. If you watch the movie with the sound off, you will enjoy a feast for your eyes. 'When the Sun Goes Down' stands out for me with a gravity-defying dance number and Inception level world morphing. The kaleidoscopic direction is dazzling but also assists in the theme of 'following your dreams.' All in all, the direction was a reward for enhancing the story and looking incredible while doing it. The CHOREOGRAPHY deserves capitalization for how glorious it was. Every dance number felt like natural extensions of the story. The parameters of the film medium only seemed to magnify the phenomenal dance routines that were housed inside it. Dance numbers in films that used to be stage musicals usually detract from the story with too much extraneous movement. But the dance numbers in tandem with the fabulous direction contribute to the narrative wonderfully. I want to add a special note here for how fantastic the ensemble was. They made the barrio seem vibrant. It helps that they were amazing dancers. The constant threat of gentrification encroaching on the lives in the barrio sets the stakes. With that topic, the film is the perfect balance of style and substance. Highlighted below are the performances, but I should note that this film was on a quest to make every character my favorite, and it succeeded. With deft political commentary sprinkled throughout, catchy tunes, stunning direction, dazzling choreography, and a vibrant city as its set, In The Heights is a genuinely enjoyable movie that satisfies even the most anti-musical house members.
my favorite characters:
Anthony Ramos as Usnavi: a role previously played by Lin Manuel Miranda is big shoes to fill. Thankfully, Ramos is up for the challenge. The original John Laurens/Phillip Hamilton in Hamilton, Ramos played Usnavi (named after a U.S. Navy vessel) at the Kennedy Center a couple of years ago. This film version provides Ramos with the visual medium to be the narrator's presence to guide us through the story. His everlasting charm and vulnerability suit him well, and I hope he gets award recognition for his brilliant work.
Melissa Barrera as Vanessa: HER SCREEN PRESENCE. That required capitalization because of how entrancing she is on screen. Her entrance was a genuine burst of dopamine and excitement. Her exquisite vocals provided enjoyment for the majority of the movie. Her song It Won't Be Long Now was my favorite in the film. On a separate note, her eyebrows are splendid. That's just an extra thing I want to note. Barrera's scene-stealing portrayal of Vanessa as a hard-as-nails career woman focused on opening her clothing store asserts herself as my favorite character. Her stunning performance deserves praise and hopefully award recognition.
Daphne Rubin-Vega, Stephanie Beatriz, and Dascha Polanco as Daniela, Carla, and Cuca: I combined all of the Salon Ladies into this one section because they are lovely with all of their gossip and the recurring phrase "No Me Diga." In every scene they are in, they spark joy. That is precisely the reason why Carnival de Barrio functions so well. Their shared relationship and career rang true because two of the salon ladies were much better friends with each other than with the third (sorry, Cuca).
this movie is rated PG-13. here’s why:
Language
Suggestive Material
my favorite part: I don't want to spoil a lot, but the songs 'In The Heights' and '96,000' are the most 'musical movie' numbers in the show. I would highly recommend watching those. They are the perfect marriage of direction, choreography, acting, and score. My favorite song is 'It Won't Be Long Now' because of the phenomenal Melissa Barrera (whom I highlighted above). Also, the cameos from Christopher Jackson and Patrick Page were fun theatre kid easter eggs. Finally, Lin Manuel Miranda's feud with the Frostee Man was a comedic gem. To further highlight the cast (because they were all glorious):
Corey Hawkins was perfectly charming (and so charismatic).
Leslie Grace was angelic.
Jimmy Smits was brilliant (and he can sing?)
Olga Merediz was heartbreaking (she reprised her role from Broadway)
Gregory Diaz IV was a firecracker scene-stealer as well (his political activism was an invaluable component of the show)
where to watch:
also in theaters until july 11!
IMDb:
