Why remake a 60-year-old movie that won ten Oscars and is still beloved, even while admitting its shortcomings and its being quaintly out of date on some of the issues it raises? Because Steven Spielberg and screenwriter Tony Kushner have taken the best from the original and made the essence of the story even more powerful and meaningful. “West Side Story,” the original itself a remake of Shakespeare’s “Romeo and Juliet,” itself a reworking of an Italian story that had at least three different versions before Romeo compared Juliet to the sun and Juliet asked what there was in a name. The themes of love, loss, fear, and anger will always inspire our stories, and the incomparable music by Leonard Bernstein, with lyrics by then then-25-year-old Stephen Sondheim, are as thrilling as ever in this new version.

Maybe there will be another remake 60 years from now, but it is hard to imagine it being better than this one. Spielberg’s gift for visual story-telling, with brilliant cinematography from Janusz Kaminski, production design from Adam Stockhausen, and editing by Sarah Broshar and Michael Kahn match and enhance the muscular electricity of the Bernstein score. There are star-making performances from the entire cast, especially Ariana DeBose as Anita, Mike Faist as Riff, and Rachel Zegler as Maria. Rita Moreno, who won an Oscar for her performance as Anita 60 years ago, all but steals the movie as Valentina, a new role, replacing Doc, the owner of the convenience store. In this version, she is his widow, their own marriage a symbol of what Tony and Maria aspire to.

Kushner’s changes are subtle and judicious, making the story deeper and more urgent. The opening shots show us that the turf battle has already been lost. The wrecking ball is knocking everything down. The only home the Jets have ever known is being torn down “for slum clearance” to make way for a gentrification project that will include a high-end high-rise and the high-culture Lincoln Center for performing arts. When Anita sings in “America” about some day living in an apartment with a terrace, she is standing near a sign showing the glamorous building that will replace the town-down tenements.

The setting looks like a bombed-out war zone. This makes the the emotion more vivid and the stakes more concrete (in both senses of the word). When “West Side Story” was first written, juvenile delinquents were listed by a majority of Americans as one of their most important concerns, next to atomic weapons. In order to make the concerns of the gangs as visceral today, Kushner shows us why Riff and the Jets feel that everything is being taken from them. The detective tells them that all the white people in the community who were smart enough to get out are gone. They are, he says, “the last of the can’t make it out Caucasians.”

Everything that gave them a sense of power, belonging, and control (“little boy, you’re a man, little man, you’re a king”) is being reduced to rubble and replaced with spaces that would be alien to them even if they could afford them. There is dust everywhere, and everything is washed out, knocked down, and covered with grit. The Jets cannot fight City Hall. All they have left is their fury and what they use to assuage it — the feeling of brotherhood. They sing of the Jets as a family (“you’ve got brothers around; you’re a family man”) while Tony says he envies the Puerto Ricans’ strong, committed biological families. There is no one to take it out on but the newcomers who are even lower on the social hierarchy than they are, the Puerto Ricans. Riff says, “I wake up to everything I knew being sold or wrecked or being taken away by someone I don’t like.”

Their gang, the Sharks, is fueled by resentment at being treated like second-class Americans in their own country. And they, too, are worried about losing their sense of family. They want the opportunities available to white, native English-speaking Americans but they want to remain intact, insular, restricting their associations to those they can trust. Their internal conflict is shown in “America,” where the girls sing of what they can do and buy and the boys jeer at them for ignoring the bigotry they will face — while not being willing to go back to Puerto Rico.

Some changes reflect our more sensitive understanding of the very issues the original depicted. In this version, the Latinx characters are played by Latinx performers of different skin tones and no one wears brownface make-up. All of the performers do their own singing. In addition, the Spanish dialogue is not subtitled. Some gender/sexuality insults remain in the script but the character once derisively called “Anybody’s,” who we might now call non-binary, is portrayed with more depth. The dance numbers are less balletic, more a reflection of the energy of emotions the characters are feeling.

Kushner’s changes to the script are sometimes subtle but every one adds to the emotion and revelation of character. In this version, Tony has even more reason to be reconsidering his commitment to the Jets, and he has an example in Valentina, his employer and friend, of what is possible. The “Cool” song has much more of an impact here, sung by Tony to Riff when he discovers that Riff has bought a gun. “I Feel Pretty,” instead of a bridal shop, is sung in a department store, where Maria is an after-hours cleaner. The dance through the aspirational scenes of mannequins “enjoying” middle class life parallels the reference to the apartment with a terrace. And Tony takes Maria to see The Cloisters, a beautiful cathedral-like setting for “One Hand, One Heart” that evokes the timelessness of Romeo and Juliet.

This story is very much of its time but its themes, too, are timeless, and with this new version we can experience it with the deeper understanding of its themes, a new generation of performers making it as new to us as it is to them, and one nod to the past with Moreno reminding us that like the late Bernstein and Sondheim, brilliance is always forever renewing itself.

Parents should know that this movie includes strong language with some racist terms, sexual references and a non-explicit situation, drinking, smoking, references to drugs, and gang violence, with knives and a gun. Characters are injured and killed.

Family discussion: If the story took place today, who would be in the gangs and how would it be different? What do we learn from the “Office Krupke” song? Why do Riff and Tony see things differently? What advice would you give to Tony and Maria?

If you like this, try: the original 1961 film, “In the Heights,” the wonderful documentary about Rita Moreno, and “Romeo and Juliet”