REVIEW: Atención: ‘In The Heights’ shines in the summer sun and sulks in the shadow of its predecessor
If you know absolutely nothing about the original stage production of “In The Heights,” Jon M. Chu’s theatrical adaptation is absolutely stunning. However, with possession of any knowledge of the stage show, the film is a warm shadow of its predecessor.
“In The Heights” is a rare stage production in that the show has no antagonist, it is simply a “a couple of days in the life of what it’s like in Washington Heights.” Nevertheless, the movie has a massive villain in Quiara Alegria Hudes, the film’s screenwriter. Even though Hudes and Lin Manuel Miranda won multiple awards for writing the stage play, Hudes is the main reason why the film is a bad adaptation. Between cutting out desperately needed storylines and songs to threatening Miranda if he did not take a role in the film, Hudes did a disservice to everyone with her actions.
With few exceptions, “In The Heights” is technically wonderful and everything a movie musical should be. Just because the screenwriter is out to sabotage the film, it does not mean that everyone else just allowed the film to go to pot. The performances in the film were absolutely wonderful. Anthony Ramos is a wonderful Usnavi and his choice to play the character as a nervous, but classically cool go-getter is an inspired choice. Miranda has said for years that Ramos is a star, and the world finally is able to catch up, because he is.
Moreover, one of the film’s highlights is Corey Hawkins’ Benny. Hawkins’ turn as Usnavi’s goofy best friend is so layered. The actor actively works against Hudes’ trim of the character to serve as the audience’s stand in. The scene when Benny leaves during the blackout and runs to the taxi dispatch office is one of the best acted moments in the entire film.
The only actor to reprise their original role from the stage show is Olga Merediz who embodies the show’s matriarchal figure, Abuela Claudia. Not only does she steal every single scene she is in, she does it effortlessly and with a quiet grace. Even in less nuanced moments, Merediz’ performance evokes a great and tender emotion. Her physical acting is just as amazing, especially in ‘Paciencia y Fe.’ She is Abuela Claudia and there is not a single person who could have played the role better.
With the exception of developing Sonny’s character (played by Gregory Diaz IV), the film did not have a single change from the stage play that was needed, necessary, or even wanted. The genius behind the musical is how tight everything is, including dialogue, lyrics and plot pacing. When someone moves it around, something is sacrificed and in the case of “In The Heights,” that happened to be the emotional vulnerability of the characters, in particular Nina.
Nina is the stage production’s most complex character who not only struggles between her world in New York and her world in California, but with who her community sees her as and who she really is. The movie version just turned her into a whiny 2-D cardboard cutout who just stands around listening “to her block,” instead of actually doing anything.
While vocally, Leslie Grace really misses the mark on `Breathe,’ her softer, Disney Princess-esque voice would have worked really well on ‘Everything I Know,’ except it got cut. Therefore, Grace does not get a chance to shine until ‘When The Sun Goes Down,’ the show’s third to last number.
But that is not even the worst change. When Hudes consciously chose to move ‘Carnaval Del Barrio’ to after ‘Alabanza’, it left the audience in a kind of befuddled stupor. Even if someone has no idea that the song is in the wrong spot, they are also stunned by this illogical tonal shift.
The lack of Afro-Latinx casting (or any biracial Latinx representation) is disappointing. Washington Heights is an extremely diverse community, however, this film only showcases a small subsection of the population. Additionally, the film eliminates all conversations surrounding the race-based and cultural implication of the story’s only interractial relationship. Is the stage production’s treatment of biraciality and interraciality perfect? Not at all, but the film really could have improved on these issues and it actively chose not to do so.
Overally, this film is a wonderful summer spectacle with a high level of rewatchability. With some of the most fun (and technical) choreography in any movie musical, powerful performances and insanely and an achingly insidious soundtrack, people should be watching this film. But, if you fell in love with the stage production of this show, some of the emotional weight is lost with the change in Nina’s characterization and placement of ‘Carnaval Del Barrio’ and it does taint the experience. “In the Heights” is a perfect example of a great film and a bad adaptation.
