My greatest wish after seeing In the Heights is that Hollywood will learn from it, given that Hollywood has a track record of producing movie musicals that are a mixed bag. Sometimes a musical film contains a clever premise and beautiful cinematography, but lacks a cast that does justice to the musical numbers. There are also movie musicals that are the opposite, with a phenomenally talented cast that makes an otherwise dull or uninspired movie musical fun to watch. However, In the Heights is a movie musical done right in almost every possible way and has earned a place among my favorite movie musicals.
In the Heights is a film adaptation of Lin-Manuel Miranda’s Tony Award-winning stage musical. The story follows different individuals in a community surrounding a corner of Washington Heights as they go through challenges and struggle to achieve their dreams.
The film is framed through Usnavi (Anthony Ramos), the protagonist, telling a bunch of children about his family’s and his friends’ past experiences living in Washington Heights. While many musical films have opted not to use a framing device (often to their detriment) since Chicago (2002), In the Heights skillfully applies it to help suspend viewer disbelief with its more fantastical elements. Spontaneous singing or scenes that include dancing on the side of a building don’t feel out of place because they are depicted through the lens of a child’s imagination or as part of a nostalgia trip. The framing device also allows director Jon M. Chu to completely embrace his distinct style without it feeling ridiculous. Like Chu’s previous film, Crazy Rich Asians (2018), In the Heights is a visual feast that oozes color and character. This, in addition to the smooth, stunning cinematography, gives the film and Washington Heights a dream-like, fantasy quality that makes you want to live in that world forever.
The musical numbers are the main draw of In the Heights, accentuating its vivid, surreal quality with amazing choreography and clever staging. I have long adored Miranda’s score for the stage musical, and it was wonderful having it realized on film. Each song has its own flair and allows the film’s music to always feel fresh and never repetitive. The musical can jump from the powerful, bittersweet ballad “Breathe” to the flamboyant, bubbly song “Carnaval del Barrio.” Regardless of the musical number, Chu’s steady direction makes it easy to follow the action. Cuts do not feel excessive or distracting, but rather match the energy of the number and add extra momentum if need be. I also loved Chu’s use of unusual settings for different songs, such as a pool for “96,000” or the side of a building for “When the Sun Goes Down.” These numbers give In the Heights its own identity and make it stand out in comparison to other movie musicals.
While the film’s musical numbers are my favorite scenes, the between moments are still quite memorable. It can be difficult for non-musical theater fans to watch movies such as La La Land (2016), The Greatest Showman (2017), and even Chicago because the moments between musical numbers feel like filler. However, In the Heights is never stagnant; it constantly flows from one scene to the next, whether it be a musical number or a purely dialogue scene. Non-musical scenes can carry enormous weight and impact within the overall plot. I could hardly tear my eyes from the screen during talks between Nina (Leslie Grace) and her dad (Jimmy Smits) or any non-singing interaction between Abuela Claudia (Olga Merediz) and another character.
The cast also does a phenomenal job balancing the high-energy musical numbers and the more subtle between moments. Although the film has received fair criticism of possible colorism, due to a lack of Afro-Latino actors with darker skin colors, it is undeniable that each actor is well-suited to their respective role. Anthony Ramos is perfectly cast as Usnavi, the lead character, and carries the film with his enthusiasm and charisma. I was truly floored, however, by the immense talent of the two leading actresses, Leslie Grace and Melissa Barrera. Grace’s portrayal of Nina and the pressure she faces to live up to her family’s expectations is heart-wrenching, and her vocal performance is the best in the entire film. On the other hand, Barrera is able to convey an incredible emotional range as Vanessa, appearing truly despondent in one scene, and sarcastic and humorous in the next during a cute, cringey interaction with Usnavi. Corey Hawkins and Gregory Diaz IV also give great performances, but Stephanie Beatriz of Brooklyn Nine-Nine fame is the true scene-stealer as Carla. Carla’s naive, priceless reactions in various musical numbers frequently left me in stitches. Each actor brings everything they have to the plate and proves themselves to be a true triple threat. I couldn’t be more thrilled that In the Heights justifies my diehard belief that musical films should prioritize hiring musically talented actors over big-name actors.
In the Heights has received criticism that it suffers from the lack of a singular, central plot, but I disagree with this. While other musical films that feature numerous storylines such as Dreamgirls (2006) have stumbled because they lack a unifying, engaging theme, In the Heights employs the theme of sueñito—a little dream—to tie all of its storylines together. Each storyline features a character trying to pursue their own little dream: Usnavi intends to return to the Dominican Republic, Nina wants to “escape” Washington Heights, and Vanessa desires to become a fashion designer elsewhere. These storylines converge when each character realizes that their community is what gives them strength and allows them to dream. This end message is as clear and satisfying as it would be if the film had a singular conflict.
Where the film actually falters is in its blatant attempts at relevance and some of the plot contrivances. Scenes such as when Nina describes being strip-searched at college or when she and Sonny (Gregory Diaz IV) attend a protest to support DREAMers feel sloppily tacked on. I am NOT disparaging the trauma someone goes through after being strip-searched or the hardships DREAMers face, but rather criticizing the haphazard way these details were incorporated into the film. They make the film feel like it’s trying too hard to be relevant and are unnecessary because they are not included in the stage adaptation. Furthermore, as good as this film is, it cannot resist the trope of having a conflict right before the climax. Usnavi and Vanessa get into a meaningless fight which is immediately overlooked in subsequent scenes.
These issues are minor in the grand scheme of things. I love In the Heights because it knows what it is and is proud of it. In the Heights is an unabashedly fun, boisterous movie musical that can take itself seriously but not to the point of being dreary Oscar bait like Les Misérables (2012). I recommend that everyone see In the Heights in theaters, especially considering the film’s rather disappointing box office returns so far. The film is a true musical gem and Hollywood needs to be convinced to make more like it.
Grade: A
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