Spielberg’s musical debut hits all the right notes.

It’s hardly the hottest take in the world but that Steven Spielberg is a pretty decent director you know. I mean, of course he is, but it doesn’t hurt to be reminded every now and again.

The man’s filmography really does speak for itself, highlighting a director at the top of his game for over half a century. From sci-fi to horror to historical drama and (almost) everything in between, Spielberg’s career is as varied as it is long, with the filmmaker’s durability stemming not only from the consistent high quality of his output, but from the sheer diversity of it.

Yet, despite this variety, there’s one genre that’s so far alluded the director, and despite frequently claiming that he’d always wanted to make one, Spielberg has never found the right musical for him. Until now.

In the summer of 1957, in New York’s Upper West Side, conflict brews between a gang of white Americans, the Jets, and the Puerto Rican Sharks over control of the neighbourhood. Amid this feud, romance blooms, as Tony (Ansel Elgort) and Maria (Rachel Zegler) form a bond across this fractious divide. As racial and personal tensions simmer in the heat of the New York summer, violence seems inevitable unless Tony and Maria can convince their two tribes to come together and set their differences aside.

In waiting so long for the right musical to fall into his lap, you’d be forgiven for feeling Steven Spielberg’s moment to direct one had passed. While his output has remained remarkably strong over the years, you can’t help but wonder what a Spielberg musical would’ve looked like in the director’s pomp, rather than the tail end of his career.

However, while it certainly would’ve been interesting to see what he could’ve done with the genre squeezed between the likes of E.T. and Raiders of the Lost Ark, it’s hard to deny that the director’s patience has paid off. With a filmography that’s certainly had its ups and downs of late, West Side Story represents a late-career triumph for Spielberg, one that proves he still has it in him to direct the hell out of anything that has his heart.

Without a doubt, West Side Story is absolutely gorgeous. With exquisite blocking, razor-sharp choreography, and a beautifully rendered period feel, the film is an absolute masterclass in direction, proving that, while he may be new to the genre, Spielberg was clearly born to make a musical.

Crafted like a golden age classic, yet feeling anchored in the here and now, West Side Story update’s itself just enough to feel vital, while bringing the kind of style and class that makes it timeless. With immaculately choreographed song and dance numbers and Janusz Kamiński’s gloriously glossy cinematography, the film is an unabashed throwback and a brand of musical you just don’t see anymore.

This West Side Story is an utterly unique viewing experience in this day and age, and perhaps the most important factor in this is Spielberg’s decision to pull influence not from the 1961 film, but the original 1957 stage musical. With this decision, the film never feels derivative, and while there were some understandable doubts regarding the necessity of a remake, Spielberg answers emphatically by offering something warmly familiar that never feels like a rehash.

Of course, there are more than a few nods to the ‘61 version in there, as Spielberg’s love for the film shines through, yet, rather than play it safe and lean into the nostalgia too heavily, he uses it as a platform to build upon. While much of the film is clearly set on a sound stage like the original, there’s a real world feel and an expansiveness to it all that widens the frame significantly.

The rubble and deterioration of New York’s Upper West Side is positively palpable, and from the rundown shopfronts to the creaking fire escapes, feels thoroughly lived-in in ways that just couldn’t be done on a backlot sixty years ago. In opening the world up, Spielberg has found a way to make the film’s story and subject matter feel all the more immediate and painfully relevant.

And make no mistake, the themes and the messaging of West Side Story are as pertinent now – if not more so – than they were six decades ago. There has always been something of a paradox in West Side Story, or at least in the way that people perceive the film, as its uplifting energy and joyous musical numbers mask a darkness and the sobering message at its heart.

This weighty message so often gets lost in the film’s stirring verve, yet Spielberg is having none of it, as he doubles down on the solemnity at its core. While of course the central romance and all the iconic songs are there, Spielberg doesn’t hold back from the gut punch of the story’s inherent tragedy, as the rumbles hit harder, the stabs cut deeper, and the hatred feels even more devastating.

It’s a potent mix of emotion that Spielberg masterfully wields, and combined with the vibrancy of the film’s music and visuals, makes for one hell of a ride. It’s also a tonal balance that, for all the director’s seasoned expertise, could’ve easily fallen flat had those in front of the camera not been up to the task.

For the most part, however, the cast are very much up to it, as they fully embrace both sides of the film’s tonal coin. Leading the charge on this is Rachel Zegler, whose magnetic screen presence, effortless charm, and incredible voice combine to steal the show.

How on Earth this is Zegler’s very first on-screen appearance of any sort is astonishing, and whether it’s belting out ‘Tonight’ or melting our heart with ‘I Feel Pretty’, her ability to command attention belies her tender years. To not only capture the essence of such an iconic character but to make Maria her own really is something else, and in doing so, Zegler manages to comprehensively upstage her more experienced co-star. 

Putting aside his personal issues for a minute, Ansel Elgort just doesn’t gel with either the material or his co-star, coming up well short as a charismatic leading man and frequently finding himself overshadowed by both Rachel Zegler and the wider cast. With little personality and zero romantic chemistry with Zegler, Elgort is an uncomfortable fit for Tony, and despite being the most recognisable member of the cast, fails to live up to the high standard of those around him.

Largely comprised of unknowns, West Side Story’s cast may be unfamiliar, yet they truly make the film sing. It’s certainly a ballsy move from Spielberg to populate the ensemble with performers more experienced on the stage than the screen, yet it’s undoubtedly a wise one, as they inject an organic authenticity into proceedings that so many far more star-studded musicals lack.

Alongside the returning Rita Moreno, newer faces like Ariana DeBose, David Alvarez, and Mike Faist are all absolute scene stealers, bringing with them a screen presence that gels perfectly with their abundant stage skills. Whether any will continue to pursue a big screen career off the back of this is yet to be seen, however, wherever they go from here, they can be immensely proud of what they’ve achieved.

The wider cast’s contribution to the songs and their ability to breathe new life into numbers now six decades old cannot be overstated, helping turn a potential rehash into something else entirely. With tweaks here and there to their structure and running order, everything from ‘America’ to ‘Gee, Officer Krupke’ is given a new lease of life, with Spielberg’s pitch-perfect direction and the ensemble’s abundant skills combining to offer the whole musical package.

The songs themselves are what they are however, and their unabashedly old-fashioned presentation is highly unlikely to win many new fans. Quite frankly, West Side Story’s brand of throwback is going to be your thing or it isn’t, and what Steven Spielberg has crafted will always be a hard sell for those adverse to the genre.

That said, however, even the most ardent musical denier must admire the sheer showmanship and craftsmanship on offer here. Allowed the time, space, and budget to shine, every song and dance number absolutely pops off the screen, and regardless of their familiarity, feels as fresh as they did sixty years ago.

Given a new look but retaining the classic feel, West Side Story more than lives up to its much-loved predecessor, as Steven Spielberg’s musical bow hits all the right notes. Anchored by a breakout performance from Rachel Zegler and complemented by Spielberg’s unrivalled technical dynamism, West Side Story is a dazzling feast for the eyes and ears that updates the original without losing any of the heart.