In the Heights is a jubilant and spellbinding reminder of the power of cinematic musicals

Brilliant cinematography and audio design elevate John M. Chu’s film adaptation of the 2008 stage musical

While it’s no surprise that the golden age of the cinematic musical has passed, it hasn’t stopped the genre from undergoing a slight resurgence this century with prestige films like La La Land (2016), Sweeney Todd: The Demon Barber of Fleet Street (2007), and Once (2007).

This tiny but promising list of new age musicals will shine even brighter with its latest addition —In the Heights, a triumphant and ravishing film adaptation that wholeheartedly displays the sheer power of stories when music and cinema are intertwined.

Taking place in the majority Latin-American neighbourhood of Washington Heights in Manhattan, the film follows Usnavi (Anthony Ramos), a childhood immigrant who runs a bodega while yearning to go back to his home country, the Dominican Republic, to save his late father’s shuttering business. What follows is a whimsical exploration of the resilience of ethnic neighbourhoods and the inherent glory of chasing your dreams regardless of how humble your beginnings are.

While on the surface the plot doesn’t seem ground-breaking, director John M. Chu thankfully understands that execution is everything. Every set piece compliments the great songwriting and lavish cinematography that ebbs and flows with each characters’ movements. Each scene explodes with moments of sensory overload that surprisingly don’t annoy but instead captivate, and put one into an enjoyably trancelike state.

The film’s greatest strength lies in utilizing cinematic tools in the service of traditional musical motifs, which in turn elevate the story’s somewhat basic plot into one that is vivid and emotional.

Just as the traditional musical incorporates singing, spoken dialogue, acting, and dancing, the filmmakers inject a sense of euphoric bliss into each of those vital components with bombastic cinematography and audio design that highlight each scenes’ stunning staging and the film’s overall thematic ambitions. With all this being accomplished, it culminates in an experience that gives you the type of goosebumps you wish lasted forever.

With so much going right with respect to the filmmaking, the great performances serve as a heavenly cherry on top.

Much of the feature cast are relative newcomers, and it’s impressive how skillfully their performances juggle dancing, singing, and acting in ways that not only provide emotional layers to their characters, but also to the storytelling ambitions of the filmmakers.

Yet, the heart of the film lies with Anthony Ramos who gracefully revives Lin-Manuel Miranda’s original Broadway role with a virtuosity that allows the audience to joyfully float throughout the film’s musical set pieces. This film has officially made a star out of Ramos, and his captivating on-screen presence confirms that the sky’s the limit for him. Additionally, Olga Merediz as Abuela, the community matriarch, greatly helps to keep each scene focused on the film’s overall message of championing your community in the pursuit of your goals.

There isn’t much this film does wrong, but being an adaptation of a musical, it sometimes adheres too closely to the tenets of traditional stage plays.

In musicals, many featured scenes explore the inner thoughts of secondary characters but don’t necessarily move the plot forward. In my opinion, if these moments were key to the events of the plot, they would be a much-welcomed addition since they create more well-rounded characters. However, they are not always key, and many musicals in turn have a tiring run time well over three hours.

While In The Height’s run time doesn’t reach that mark, it’s obvious that the film can benefit from some streamlining. As an adaptation, the filmmakers have the liberty to edit out certain scenes from the play to deliver a leaner and more effectual film that would still deliver the same emotional punch.

The film’s “Piragua” number is undoubtedly a well-written and well-constructed piece of musical cinema, but in terms of progressing the plot forward, it does little besides solidify the theme of the film using a barely seen secondary character. However, when the opening number and climatic songs like “Blackout” and “Carnaval del Barrio” light up the screen, this issue is undoubtedly buried under their weight. The consistency and virtuosity of the songs are so palpable that I couldn’t imagine anyone coming away without a couple of lyrics ingrained in their memory.

In the Heights is not only a testament to the ethnic communities that form the dreamers of tomorrow in North America, but also to the enduring power of musical cinema. It’s an unabashed film made for movie lovers and daydreamers hoping to soar away from the stresses this harrowing pandemic has brought us. While someday we will return to normal, in the meantime we can thank films like this for reminding us that our troubles are always manageable when we have the encouragement and support of our communities behind us.

Cover photo courtesy of Warner Bros. Pictures

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