December 12, 2019... Around 8 p.m., the trailer for the film adaptation of one of my favorite Broadway musicals is released. Even just listening to its songs has often given me goosebumps or brought tears to my eyes, so the moment the trailer ends, I immediately watch it again without wasting a second. I make plans with at least three different friends to watch the film in theaters that summer, and I start counting down the days.

And now, even if with a one-year delay, I’ve finally managed to watch the film.

My expectations were high, rightfully so, as the source material was a Lin-Manuel Miranda creation that had even won the Tony Award for Best Musical in 2008. Though the musical had already earned widespread acclaim, perhaps its most groundbreaking feature was its use of rap and hip-hop as primary storytelling tools. In many ways, it paved the way for the genre-defining success of Hamilton. But what made me fall in love with In The Heights even more was that, unlike epic and distant stories like Hamilton, Les Misérables, or The Phantom of the Opera, it told stories and presented characters I could relate to. It was the story of a barrio, its people chasing their sueñitos (little dreams), standing tall in the face of life’s challenges, and holding tight to one another in an increasingly individualistic world.

What made me happiest when the trailer was released was the cast. Recently, musical-to-film adaptations (like The Prom or Cats) have featured big-name Hollywood actors without any musical theater background to attract audiences. In contrast, In The Heights stayed true to its roots, casting Anthony Ramos, who had previously worked with Miranda in two musicals and had already played the role at the Kennedy Center in 2018, in the lead. The film showed confidence in itself and didn’t rely on celebrity power to pull in viewers.

Quiara Alegría Hudes, who also wrote the book for the Broadway version, handled the screenplay, while John M. Chu who is known for the dazzling visuals of Crazy Rich Asians directed. The film opens with Usnavi (Anthony Ramos), the protagonist who dreams of returning to the Dominican Republic, telling a group of children the story of Washington Heights, a neighborhood full of life, challenges, and Latin identity. As the film unfolds, we not only become part of this community but also witness struggles such as gentrification.

One of the first things that struck me was the fast and sharp editing. At first, I found it a bit jarring, but I quickly adapted to the rhythm. I understand the choice, too. The film doesn’t try to make musical numbers feel "realistic" or blend them seamlessly into dialogue, it embraces its musicality. It knows it’s exaggerated and fantastical, and it uses that self-awareness as a strength. So this fast-paced editing felt like the right choice.

The first scene ends with a spectacular dance number, reminding us that dance scenes are often the highlight of musical films. Even though In The Heights isn’t as dance-heavy as something like Cats, director Chu succeeds in all the ways Cats failed. Films like The Prom and Cats often favored close-ups on faces during dance sequences, which frustrated me to no end—why focus on facial expressions when there’s an amazing choreography happening? Just when I started to think I was the problem, In The Heights proved I wasn’t. In one especially brilliant moment, the film lets us see a dancer’s reflection in a window while focusing on a character’s expression. Fans will know exactly which scene I mean.

The scenes I was most excited for going in, "96,000," "Carnaval Del Barrio," "The Club," and the final parts of the opening number "In The Heights", all lived up to the hype. I was particularly curious how Chu would handle these, though I trusted him completely given his background (he appeared in the Step Up series!). Thankfully, he didn’t disappoint. Massive ensemble scenes, reminiscent of "Another Day of Sun" from La La Land, will not only thrill musical fans like me but also captivate general audiences.

Now, let’s talk about the parts that fell short. Some characters lacked the depth and nuance they deserved, and I think the main reason lies in the changes made during adaptation, especially the songs that were cut.

Abuela Claudia (Olga Merediz) was one of the most important characters in the original show, and I was shocked by how little screen time she had. We see her briefly at the start, then only truly get to know her in her solo number "Paciencia y Fe" which, visually, is one of the film’s most stunning moments. But then she dies, followed by a rushed funeral number, and afterward, she seems to have no emotional impact on the other characters. In the original, she dies much later, wins the lottery, and discusses it with Usnavi. She has another solo, and Nina also sings a song about her after her death. Most importantly, Graffiti Pete’s mural of Abuela, what originally convinced Usnavi to stay, was replaced by a twist ending with a beach painting.

So why do I keep bringing up the cut songs like a broken record? Because in musicals, songs are the tool that allows characters to express their deepest emotions and thoughts. Music intensifies emotion, strengthens dramatic action, and creates an atmosphere that plain words simply cannot. When you cut those songs, of course the characters feel less fleshed out.

Another character affected by this was Nina Rosario (Leslie Grace). In the original, she struggles with juggling two jobs while attending Stanford, a nuanced story that was simplified and made cliché in the film to emphasize racism. Her relationship with Benny (Corey Hawkins) was also mostly cut to give more screen time to Usnavi and Vanessa (Melissa Barrera). That disappointed me, especially sweet moments like Benny learning Spanish for Nina were sorely missed. Nina’s relationship with her father was also diluted. Aside from one dinner scene, we don’t really see the emotional push and pull between them. Kevin Rosario (Jimmy Smits) makes a few comments to Benny later, but we never really understand his feelings or motivations. And yes, there was a song for that too: "Inutil," which explained his backstory.

With Nina’s relationships trimmed down, we also lost a lot of what made her character compelling. Still, I appreciated the subtle touch of showing her hair transition from straightened to natural as the film went on.

Honestly, I could write much more about this film, but I’ll stop here before this review becomes as long as the film itself. In the end, In The Heights is a film that musical lovers will adore, while more casual viewers might get restless in the second half. Still, it promises a fun and heartfelt experience.