When I had first heard that Steven Spielberg would be making another version of West Side Story, I was more than a little hesitant. Despite making some of my favorite films, Spielberg’s output hasn’t impressed since Lincoln in 2012, while the initial images and teaser trailer hardly restored confidence in his ability to recreate the magic of the original. Despite my reservations, West Side Story is absolutely a return to form for Spielberg, delivering one of his finest directorial efforts in years, as he boldly sets forth his own version of the classic.

West Side Story takes place in Manhattan in the 1950s, a love story between Maria, the sister of the leader of the Puerto Rican gang the Sharks, and Tony, the ex-boss of the rival all-white gang the Jets. Despite coming from groups that hate each other, Maria and Tony fall in love. As a result, tensions in the neighborhood erupt from a rivalry into an all-out war for their love.

It’s genuinely difficult to pinpoint a best-in-show for West Side Story, both because of the fantastic ensemble that Spielberg has assembled and the rich cast of characters in the film. Rachel Zegler is a star in the making with her turn as Maria, with her angelic voice matching well with her ability to convey Maria’s innocence and earnestness. Ansel Elgort’s Tony is likely the weakest of the cast, yet even he delivers a decent performance with his presence. Despite this compliment, I want it to be known I stand in full solidarity with Elgort’s accusers, and believe them.

West Side Story‘s greatest strength has always been those surroundings to the central love story, with that staying true here. Ariana DeBose is sensational as Anita, giving her own spin on the iconic character with zeal and energy, while the legendary Rita Moreno herself gets to utilize limited screen time to soar. Mike Faist and David Alvarez are exceptional as well, with the former particularly providing a level of nuance and empathy to the prickly Riff.

Spielberg assembled his primary team, including screenwriter Tony Kushner and cinematographer Janusz Kaminski, and the result is West Side Story being one of his strongest efforts in years. Spielberg utilizes his camera to create a tale of epicness and culture, where every moment captures the sheer grandiose of his vision and his love for the material. Every moment is beautiful, either filling the screen with the dust of the demolished neighborhood or the explosive color of the passions of the youthful cast.

Kushner (in particular) deserves praise, as West Side Story‘s greatness comes partly from its timelessness, meaning improving on it in the adaptation would have been an intensely difficult task. His screenplay manages to accomplish that difficult task, updating the plot in minor but impactful ways to elevate the story, bringing it into the modern age while retaining its essence. Kushner gives it grit and edge that the original was blocked from giving due to the era, and every punch he delivers hits with meaning.

Needless to say, West Side Story possesses an insanely strong musical vibrance. This is Spielberg’s first attempt at a musical, but he may as well be a veteran with how effortlessly he directs the film. Whether it be the gripping “Prologue” that instantly puts the tension into the audience or a new, encompassing take on the “Gym Mambo:” Spielberg takes full advantage of the boon of new technology and his own masterful talent as a filmmaker. One particular stand-out is Spielberg’s version of “America,” which manages to surpass the original version with gusto and flare.

The flaws of West Side Story do remain, primarily regarding the romance of Maria and Tony. While the rendition of Romeo and Juliet set in New York is hardly a bad romance, Spielberg’s version retains the original flaw of the greater conflict between the Sharks and Jets being much more interesting as a story. The burden of having magnificent characters like Anita, Bernardo, and Riff, is that the film slows down every time it goes back to the central romance.

I have missed this version of Steven Spielberg. A master of heartfelt emotion and grand spectacle, West Side Story is another example that the legendary director still has the energy and talent that made him the icon he is. His vision is bolstered by his talented cast of actors and Tony Kushner’s reimagining of the play, while his abilities as a filmmaker haven’t been sharper in the last two decades. In a year filled with splendid musicals, West Side Story proves why it is timeless once again.

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West Side Story

8.5

Score

8.5/10

Pros

• Steven Spielberg back at the top of his game
• An excellent all-around ensemble
• Tony Kushner's screenplay is a welcome update to a classic
• The music of the late Sondheim is as beautiful as ever

Cons

• A central romance that gets overshadowed by the commentary of its world
• Its a musical - if you don't like them, you still won't