‘In the Heights’ Review: In Dreams Begin Responsibilities (Published 2021) (2024)

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Critic’s Pick

Lin-Manuel Miranda’s musical comes to the screen as an exuberant and heartfelt party, directed by Jon M. Chu and starring Anthony Ramos.

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‘In the Heights’ | Anatomy of a Scene

Jon M. Chu narrates a sequence from his film featuring Anthony Ramos.

Hey this is Jon M. Chu, the director of “In the Heights.” So this is the amazing Anthony Ramos, who plays Usnavi, the main storyteller in our movie. And he’s just said the streets are made of music. So we had to get all these people to go to the beat. We had this amazing clave beat that was playing and so all the background people had to go to that beat. [LAUGHING] [RECORD SQUEAK] That manhole cover doesn’t actually move. He just did that with his feet and our VFX team created an amazing spinning turntable there. This is a real bodega that we painted that mural on and aged all the ads on there for this. And then this is Lin-Manuel Miranda, the creator of the show, who’s playing Piragua Guy. And you can see that piragua cart. He often knocked it over and would fall everywhere. And we’d all have to clean it up. It was not easy to maneuver. And here we are in the bodega. This is an amazing set that we built. We actually built the sidewalk outside the door so that we could make transitions. But here we really wanted to show off that map of the Dominican Republic, which is pieces of glass, bottles, it has keys all in there. And because of the set, we can take out the wall. So here we’re behind the wall actually here. All the food is real, so it was starting to smell over time. Actors would steal food and eat treats. By the end, I would say half those shelves were gone, because we’d just grab cookies. “Ooh!” “Abuela, my fridge broke. I got cafe, but no con leche.” “Ay, dios!” I love the set, because it just looks like a real place. It’s not too clean. There’s a messy beauty to it. Olga Meredith, who plays Abuela Claudia, is amazing. And we knew we would not recast her. She had to be in this movie. “—Abuela, she’s not really—” That moment with Anthony looking at the camera, not a lot of actors can really look at us and invite us in, like we’re one of his homies. But he had that amazing ability. “Well, you must take the A train even farther than Harlem—” We had iPad choreography with your fingers. Actually, it took a long time to figure out how would we do choreography with your fingers on your iPad. It’s more difficult than it seems. “—somebody bought Ortega’s, our neighbors started packing up and picking up. And ever since the rents went up. It’s gotten mad expensive, but we live with just enough.” “In the Heights—” The amount of time we had to put the blanket over the camera and not hurt the lens was tricky. I love this. We call this our community chorus, people who are dancers, and people you see throughout the movie. And I love seeing a neighborhood that works hard, takes care of their families, take care of each other, has dreams and otherwise. And that’s our opening for “In the Heights.”

‘In the Heights’ Review: In Dreams Begin Responsibilities (Published 2021) (1)

By A.O. Scott

In the Heights
NYT Critic’s Pick
Directed by Jon M. Chu
Drama, Music, Musical, Romance
PG-13
2h 23m

In the Heights” begins with a man — Usnavi, played by Anthony Ramos — telling a story to a group of children. They are gathered on the patio of a bar on a palm-fringed, sun-kissed beach in the Dominican Republic. The bar is called El Sueñito, or the Little Dream, and the name is at once a clue, a spoiler and the key to the themes of this exuberant and heartfelt musical.

A dream can be a fantasy or a goal, an escape or an aspiration, a rejection of the way things are or an affirmation of what could be. “In the Heights,” adapted from Lin-Manuel Miranda and Quiara Alegría Hudes’s Tony-winning Broadway show, embraces all of these meanings. After more than a year of desultory streaming, anemic entertainment and panicky doomscrolling, it’s a dream come true.

The director, Jon M. Chu (“Crazy Rich Asians”), draws on the anti-realist traditions of Hollywood song-and-dance spectacle to vault the characters (and the audience) into exalted realms of feeling and magic. Two lovers step off a tenement fire escape and pirouette up and down the walls of the building in a sweet and thrilling defiance of gravity. A public swimming pool turns into a Busby Berkeley kaleidoscope of kineticism and color. The wigs on a beauty salon shelf bounce along to the beat of a big production number.

At the same time, this multistranded, intergenerational story about family, community and upward mobility is rooted in the real-world soil of hard work and sacrifice. The modest dreams of Usnavi and his neighbors and friends are reflections of a very big dream — the American one, which the film celebrates without irony even as it takes note of certain contradictions.

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‘In the Heights’ Review: In Dreams Begin Responsibilities (Published 2021) (2024)
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