Masterly Spielberg

I’ve written before of my love for Steven Spielberg (whose critical fortunes, having waxed and waned over the decades, seem to have settled into a sort of consensus: whatever your personal feelings for this or that movie of his from the past 10-15 years, it’s undeniable that the man knows where to put the camera), and Tim Markatos, whose writing on film you should read and whose newsletter you should subscribe to, captures perfectly what makes Spielberg so great in his explanation for placing West Side Story at #5 on his list of the best 25 films of 2021:

This movie is so well blocked that it simply embarrasses nearly every other movie released this year (including some of the highbrow fare on this very list). Mise en scène alone doesn’t make a movie (“But what if it does?” whispers the little devil-horned Janusz Kamiński that suddenly appeared on my shoulder), but it matters more for a musical. The Spielberg–Kushner rendition of West Side Story lets the Robert Wise version alone and leans harder into political awareness (a key distinction, I would say, from political correctness) not merely by writing it into the script but also by building it into every material aspect of the production. Sometimes it gets a bit hokey, Ansel Elgort brings all his personal baggage to the screen in a way that will either alienate you or not, but none of that matters because I will watch “America” approximately 300 times once it’s inevitably uploaded to YouTube and be floored by Spielberg’s total mastery of this medium every single time.

I will, too. “Total mastery” is right. In those areas of which he is master, the man is without peer.