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Print December 30, 2021 10 comments

We’re Even More Jets Now:
Spielberg’s West Side Story

Travis LeBlanc

2,005 words

“You know, I wake up to everything I know either getting sold, or wrecked, or being taken over by people that I don’t like. And they don’t like me. And you know what’s left of all that? The Jets.” — Riff

I finally got around to seeing Steven Spielberg’s new remake of West Side Story, or as I like to call it, Race Traitors in Love.

I must say that despite it being explicitly anti-racist — and by extension implicitly anti-white and Jewish — to the core, I have always had something of a soft spot for West Side Story. After all, it is one of only two Hollywood movies (the other being The Birth of a Nation) to ever portray a White Nationalist street gang in a positive light.

If you ask me, the original West Side Story was pure whitesploitation. Just as blacks were so desperate to see movies with black heroes that they were willing to tolerate bad writing, terrible acting, and shoestring production values, I am so desperate to watch a movie feature sympathetic White Nationalists that I am willing to sit through a Jewish musical about race-mixing. The Jews knew we were starved for White Nationalists on the screen so they made it as Jewy, faggy, and subversive as possible. “We’ll give the goyim sympathetic White Nationalists, but they’re gonna have to sit through a bunch of ballet to get it.” They knew some of us would not be able to resist. Damn you, Jews!

I was prepared for the worst with Spielberg’s remake, but it was actually not anywhere near as bad as I thought it would be — meaning it was not significantly more objectionable than the original. I was expecting it to be a lot more woke than it was. Oh, there’s definitely some wokeness, which I will explain later, but I was prepared for it to be more anti-white.

After all, this was to be the West Side Story updated for the Trump generation. I was expecting it to be a modernization with the Jets as cartoon Nazis marching through the streets in red hats, chanting “Sharks will not replace us.” I was prepared for American History X with dancing. Thankfully, it was not that heavy-handed, and Spielberg made the surprising decision to film it as a period piece set in the same time as the original.

In 2018 I wrote an exhaustive analysis of the original entitled “We’re All Jets Now: the Racial Politics of West Side Story.” Watching Spielberg’s remake, I often wondered if they had read my article because it seemed to go out of its way to address some of the points I had made. There were many critiques of the original 1961 version I had made which don’t apply to the remake.

For example, I made the case that if you look closely, the Jets are clearly the good guys. Anti-American Sharks were the expansionists. They were moving into the Jets’ territory, and the Jets were acting purely defensively. In Spielberg’s remake, the Jets are unambiguously the aggressors. The Sharks, on the other hand, are now a Puerto Rican vigilante group that was formed to counter them They exist only as a response to white aggression.

I also pointed out in my article that in the long run, both the Jets and Sharks lose, as Lincoln Square has since been turned into a playground for the super-wealthy. Spielberg’s West Side Story actually makes that a central theme: All the buildings of Lincoln Square are being torn down to be replaced by luxury high-rises.

In Spielberg’s West Side Story, whites have already become a minority in Lincoln Square. They are now foreigners in the neighborhood where they grew up. “We’re outnumbered, boys,” Lieutenant Schrank tells the Jets. “Thousands more are on their way. Once they’re here, they pop out kids like crazy, am I right? “

While Schrank addresses the Jets as co-racialists — “we’re outnumbered” — he is essentially a race traitor. He is a collaborator in the ethnic cleansing of his own people, and his job is to prevent them from fighting back. The movie opens with a rumble after the Jets deface a mural of Puerto Rican flags, the symbol of Lincoln Square’s new dominant ethnicity.

In the new film, the Jets are the children of the white lumpenproles who couldn’t afford to move away when the Puerto Ricans took over. Schank says:

Most of the white guys who grew up in this slum climbed their way out of it: Irish, Eye-talian, Jews. Nowadays, their descendants live in nice houses, drive nice cars, and date nice girls you’d want to marry. Your dads or your granddads stayed put, drinkin’ and knockin’ up some local piece who gave birth to you, the last of the can’t-make-it Caucasians. What’s a gang without its terrain, its turf? You’re a month or two away from finding out, one step ahead of the wrecking ball, and in this uncertain world, the only thing you can count on is me. I’m here to keep the civil peace until the last building falls, and if you boys make trouble on my turf, Riff, hand to heart, you’re headed to an Upstate prison cell for a very long time. By the time you get out, this will be a shiny new neighborhood of rich people living in beautiful apartments with Puerto Rican doormen to chase trash like you away.

Not only are the Jets shown to be the aggressors, they are presented as fighting a losing battle, a battle that has in fact already been lost. The Jets are patriots of a country that doesn’t exist anymore and isn’t coming back. There is a scene near the beginning where a Jet jumps up and pulls down the sign over a Puerto Rican store, and you see the old sign underneath from when the shop used to be an Irish bar.

You can buy Trevor Lynch’s White Nationalist Guide to the Movies here

Spielberg tries to make the Jets out to be the bad guys who stubbornly and irrationally refuse to accept the new multicultural paradigm — aka “progress” — but by doing so, he makes the Jets the underdogs in a way which they were not in the 1961 version. In 1961, whites were Goliath, and one might have thought, “Ah, c’mon. Let the Puerto Ricans use your basketball court. You have the entire rest of the country.” But in the remake, whites are shown to be losing ground and their future is uncertain. The Puerto Ricans, on the other hand, are improving their lot in life. This suggests a zero sum game.

He is also showing whites becoming more racially conscious in the face of multiculturalism. The Jets are not just White Nationalist, but pan-European White Nationalists. The Jets include Irish, Italians, Poles, and other peoples who in previous generations might have formed their own ethnically exclusive gangs, but having been rendered minorities by the Hispanics, they have put aside their differences and unite under the banner of whiteness, where they are never alone and never disconnected.

There is also the fact that the white Jets love America because it is their home, whereas the Puerto Ricans love America for what it can do for them. As evidenced from the song “America,” half of the Puerto Ricans do not even consider America their home. They also openly express anti-white sentiments, such as when Maria’s suitor Chino says, “Sooner or later, the gringos kill everything.”

More importantly, the Jets are simply cooler. They will crack jokes, goof around, and have fun. They are not humorless WN 1.0 types. Jet’s leader Riff, played by gentile Mike Faist, is easily the most charismatic character in the film. Riff is serious about standing up for whites, but is also capable of being light-hearted.

The Sharks, on the other hand, take themselves way too seriously. All they do is moan about how much better things were back in Puerto Rico. Sharks leader Bernardo flips out and starts a gang war because he saw a white guy dance with his sister. The dude’s go no chill whatsoever. Whatever you might think of the Sharks’ and the Jets’ respective grievances, you know who you would rather have a beer with.

Whatever Spielberg’s intentions, all of the above actually makes one more inclined to root for the Jets. They have had their whole world taken away from them, but their spirits remain unbroken. How could you not root for that?

Beyond this, Spielberg corrected one of the frequent criticisms of the 1961 version, namely that the dance sequences destroy any suspension of disbelief that these street hoodlums are tough guys, given that they are doing ballet in the streets. The new choreography is designed to look more macho, so you are not thinking, “Whoa, those gang members just suddenly turned into huge fags.”

The tradeoff for the amplified heterosexuality is Anybodys. In the 1961 version, Anybodys was a cute, waifish tomboy, but in Spielberg’s remake, she is a full-on bulldyke transman. Anybodys is not just butch, she’s more masculine than any of the other Jets. She gives one a bloody nose for misgendering her and then overpowers a couple of cops in order to escape a police station.

Ice, who takes over as the Jets’ leader after Riff’s death in the 1961 version, has a drastically reduced role in the remake. This might be because Spielberg wanted to follow the original Broadway musical, and Ice was a character created specifically for the original film adaptation.

The character of Doc, who in the 1961 version owned the shop the Jets used as their headquarters, has been replaced by Valentina, a Puerto Rican widow who was once married to a white man. She’s played by Rita Moreno, who played Anita in the 1961 film. She becomes a sort of mother figure for Tony, which might explain his eventual race-mixing.

There is one black character in the film, Abe, and it is interesting that he happens to be a villain. Abe is a criminal who sells the Jets a gun which they take to the rumble. It’s a curveball that Spielberg would show whites and blacks allying against Hispanics.

There is quite a bit of Spanish spoken in the movie, and Spielberg made the decision not to use subtitles

out of respect for the inclusivity of our intentions to hire a totally Latinx cast to play the Sharks’ boys and girls . . . If I subtitled the Spanish, I’d simply be doubling down on the English and giving English the power over the Spanish. This was not going to happen in this film. I needed to respect the language enough not to subtitle it.

This decision backfires, however, because it just emphasizes the alienness of Lincoln Square’s new inhabitants, and makes one identify even more strongly with the Jets, because at least you can understand what the hell they are talking about.

All in all, I would say that this new West Side Story is objectively superior to the original in most, but not all, regards. Unfortunately, the public does not agree. Spielberg’s West Side Story is currently bombing at the box office and is on course for losses potentially in the range of hundreds of millions. Word on the street is that it needs to make $300 million to break even, and at the time of writing, it has only made $37 million after three weeks.

Part of this could be that the movie went into production after Charlottesville, when “white supremacy” was a hot topic, and it was intended to be a statement on Trump’s America. By the time it finally got released, we were well into the Biden era, and “white supremacy” was two boogiemen ago. We’ve had QAnon since then, and now we have anti-anti-vax hysteria. Nazis are so 2017.

The new West Side Story is therefore a win on two fronts: Jews failed to make the anti-White Nationalist propaganda movie that they believed they had made, and in my humble opinion, they made the opposite in a lot of ways; and additionally, they are set to lose a quarter of a billion dollars for having even tried.

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Hollywoodmass immigrationmovie reviewsmusicalsremakesSteven SpielbergTravis LeBlancWest Side Storywhite displacementwhite nationalismwhite solidarity

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10 comments

  1. Beau Albrecht says:
    December 30, 2021 at 10:50 am

    It’s great to see anti-White propaganda flop like that!  With luck (granted, a lot), maybe it will make Hollyweird learn a lesson, and take some piss and vinegar out of Spielberg too.

    Puerto Rico is actually a beautiful place.  I wonder why the hell all those guys wanted to move to Spanish Harlem?

    1. Karl Gross says:
      December 30, 2021 at 7:44 pm

      I wonder why the hell all those guys wanted to move to Spanish Harlem?

      The same reason everyone else in the Third World wants to move to places established by the Dutch and English. You know, the weather…

  2. Captain John Charity Spring MA says:
    December 30, 2021 at 12:30 pm

    Sounds like an inadvertent American History X.

  3. Illian says:
    December 30, 2021 at 4:24 pm

    I’ve never seen the original or this remake, but I’ve heard that a number of “woke” Hollywood directors are going to stop adding English subtitles when other languages are spoken in their films. Equality yada yada BS. I’ve already run into a few movies or series already implementing this practice.

    It’s a great way to help white audiences disconnect with any “struggles” that foreign, non-English speaking characters are experiencing in the films. For me, it raises suspicion of the foreign character(s) being up to something nefarious when I have no context or idea what is being said or discussed. If a series isn’t going to give me subtitles, I’ll drop it.

  4. MastercraftMainframe says:
    December 30, 2021 at 5:28 pm

    “Revenge is a dish best served cold” –Mr. Freeze (Batman The Animated Series)

    Ah! Nothing sounds better than a piece of propaganda failing to attract much attention. When I heard about this remake, I felt as excited about seeing it as I feel excited going to the dentist. Spielberg and his propaganda films have routinely failed to hit with audiences for the past twenty years; I think of War Horse and the fourth Indiana Jones movie. These films have all been largely unsuccessful and boring, with little audience interest or attention by reviewers.

    It certainly is a sign that Spielberg and the like are not only out of touch, but their lies are starting to catch up with them, people are slowly figuring out that White people do not run the world. This makes it easier for our message to thrive in a culture of eroding trust in the experts and authorities.

    Happy New Year and may we all continue to fight against the malevolence!

  5. S. Clark says:
    December 30, 2021 at 6:13 pm

    I remember when West Side Story was released, it was seen by LIFE as the “new Hollywood”, and would “remake” American film. The gushing article also praised all the dancing, saying it was “dramatic’ and “exciting.”  I admit, now it seems a little silly.

    I have no intention of seeing the remake. I will say the P.R.s have a constant trait of complaining about their island but at the same time they can’t  wait to get away from it.

    Like Frank Sinatra said, the capital of Puerto Rico is…New York.  In the army, I got used to them constantly displaying their flag everywhere. A friend of mine, a Mexican GI, told me Mexicans looked at the P.R.s as clowns…”they complain about the gringo, but they stay under your goddamn flag. They are like spoiled children who won’t leave home. In Mexico, we left home a long time ago.”

    Just about the time West Side Story came out, there was a movie set in NYC about white and P.R. gangs starring Burt Lancaster. it was much more downbeat and less hopeful about P.R.s, showing their gang as manipulative and lying in order to gain sympathy, using a blind P.R. kid…murdered by the white gang…but the kid stored the P.R. gang’s knives and street weapons  on his body when the cops showed up, so he was a legitimate target.  A cold honesty about

    how civil rights groups and minorities use the system.

    Two things come out about Travis’s article: P.R.s, like Turks in Germany, are foreigners who don’t want to assimilate, but at the same time gripe and moan at the native population while they keep demanding more. As Peter Brimelow said, this is a trait of immigrant populations in refusing to divest themselves of their nationality while they seek to destroy that of the host population. reminds us of a certain other minority, eh?

    I also think it’s interesting that about the same time West Side Story came out, so did Meredith Wilson’s The Music Man, a stunningly beautiful, fun, and endearing musical that gets put on everywhere, and is a go-to show for middle America.  I recently saw a production in my hometown’s community college, and it was a sell-out for all three nights.  Who do you prefer, Natalie wood or Shirley Jones? Both shows are a contrast to what blue and red America think is great entertainment, the Music Man almost a kind of folk opera. travis might want to do a companion piece on this phenomena.

  6. Karl Gross says:
    December 30, 2021 at 8:11 pm

    On discussing the abysmal box office return with the missus, my comment was: “Geez, I thought everyone in America was just dying to sit through two hours of a choreographed lecture about race mixing from a liberal Hollywood Jew. Everyone at Steven Wise Temple was certain it would be a smash.”

    Nice to see I may have been off in my prejudicial assessment of the film — though the public reception does underscore that there is a complete lack of self-awareness among a certain group. Maybe I can find the movie on a Russian pirate site.

    Incidentally, I first saw the stage version of West Side Story in East Germany. At the time, I was too young and naive to understand why it would be favored by the communists, though the connection became quite clear to me as I matured.

  7. kolokol says:
    December 31, 2021 at 7:58 am

    I would never watch a movie such as this. It sounds deadly dull. I prefer to avoid anti-White propaganda – I stopped watching TV long ago.

    However, I enjoyed this review. If the author is right, then this remake of the 1961 original is an own-goal for jewish Hollywood, by costing them a lot of money, and by promoting White Nationalism.

    So far, it has bombed at the box office, and failed in its ideological task. That is a cheerful note on which to end the old year.

  8. Shift says:
    January 3, 2022 at 2:44 am

    When shooting the first one, the rascally locals would dump garbage and what have you on the actors from their little tenement buildings.  If someone had filmed that, I’d go see it.

  9. Anthony Bavaria says:
    January 4, 2022 at 11:28 pm

    I honestly think it tanked because it came out at the same time as Marvel’s latest retard comic book movie, all of which are loved by a disturbingly diverse (age, gender, race, etc.) audience.

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  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • End of an Era: Mad Men & the Ordeal of Civility
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • I do not belong to the Baader-Meinhof Group
  • Pulp Fascism
  • The Lost Philosopher
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
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