Musical analysis:
As stated in Howard Ho’s video “The First 3 Minutes of In the Heights Changed Everything,” the 3-2 clave rhythm is used throughout In the Heights as the show’s heartbeat. This 3-2 clave rhythm, typically associated with Latin American music, was also used in West Side Story’s “America” to indicate a loyalty to the story’s roots. Similarly, In the Heights uses the rhythm as intended to underline the idea of what it means to be Latin American in the United States, and that conforming is not necessary. As in West Side Story‘s “America,” the clave rhythm is obscured and eventually phased out as the characters begin to sing about being in the United States. Lin-Manuel Miranda points out that conformity is not necessary to be worthy of the title “American.”
Reframing the American Dream:
The American Dream is one that often encompasses and glorifies the “rise from the bottom.” However, this rise from the bottom suggests a bottom-state. Immigration goes hand-in-hand with the idea of the American Dream, though it is so hard for many to achieve. The American Dream idealizes whiteness rather than speaking of assimilation. It is a dream of conformity where conforming to whiteness is seen as superior.
In the Heights is a story of American dreams that are based on the realities of trying to maintain and preserve culture while also striving for social equity. The American Dream is, first and foremost, an illusion. Regardless of achievement and conformity, without social equity, discrimination-based challenges will present themselves. In the Heights is filled with characters who are all dreamers, and the movie makes a point not to shame any individual’s path or dream: “There’s no shame in waiting tables, and there’s no shame in having a different path.”
Usnavi wants to return to his roots, but Nina wants to go far—”her dreams were all about reach.” For Nina, she feels like her success is a betrayal, but by the end of the movie she realizes that it can be used as a path back to herself. Throughout the film, she repeatedly sees the same little girl and follows her, suggesting her desire to connect back with herself, which she finds difficult to do at school. She learns that going far doesn’t have to mean forgetting about home.
What is a sueñito?:
One of my favorite songs in In the Heights, “96,000,” is used as a tool to execute the characters’ dreams. Notice how the dreams are all about being able to enjoy the necessities and basics of life. Benny dreams of being able to attend a business school, Sonny dreams of being able to improve his community, and Usnavi needs half the money just to get out of financial debt, as “it would take half that cash just to save my ass from financial ruin.” Carla and Daniela sing about having a better-quality living space, and Vanessa dreams of leaving the barrio and having a nice studio.
As Usnavi says, “the point is, we all had a sueñito.” He later states in the movie, “A dream isn’t some sparkly diamond you get. Sometimes it’s rough, and it’s not so pretty.” In the Heights accomplishes a simple but beautiful task as it follows characters’ everyday lives, where they came from, and where they want to go. It gives representation to everyday people’s sueñito—education, housing, connection. As in the introduction, Usnavi sings, “‘Cause my parents came with nothing, they got a little more. And sure, we’re poor, but yo, at least we got the store. And it’s all about the legacy they left with me, it’s destiny.” For Usnavi’s father, the bar El Sueñito was his dream, and the store became Usnavi’s “island,” made visible by Graffiti Pete at the end of the movie.
Say it, so it doesn’t disappear:
The film makes use of the importance of storytelling. Storytelling and items are used to preserve and honor culture—”little details that tell the world we are not invisible.” This theme is also underlined by the subplot of Piragua Guy being run out of business by Mister Softee. When Usnavi speaks about the block disappearing, he is also talking about the issue of gentrification referenced by Sonny in “96,000” as Nina’s dad has been bought out by a cleaner that charges more than what’s affordable for the characters. The repeated line, “say it, so it doesn’t disappear,” is used to speak their stories into existence; a resistance to being ignored.
The scene where the kids list Latina icons serves as inspiration and to keep the legacy alive. It serves as a reminder of worthiness and possibilities. Perfectly rounding out the story, the hat Usnavi wears—once his father’s—finally ends up on the head of his daughter, a member of the next generation.
