Not every film, in fact, almost none, was originally envisioned as a musical. However, the last two decades have witnessed a growing trend of transforming movies into musicals, and when this transition succeeds, it creates a remarkable alchemy. It’s as if the story was destined to be told through music and dance; the non-musical version suddenly feels incomplete. I’ve experienced this sensation with Broadway adaptations like “Hairspray,” “School of Rock” (featuring Andrew Lloyd Webber’s remarkable score), and even “Back to the Future” (a musical I initially resisted but ended up loving).

In a similar but less grandiose fashion, the magic works in “Mean Girls,” the film adaptation of the 2018 Broadway musical inspired by the classic 2004 screen comedy. Whether it surpasses the original film in anyone’s heart may depend on age – for some, the 2004 version is sacred, while for others, it’s their mom’s “Mean Girls.” After witnessing pop singer Reneé Rapp’s portrayal of the head mean girl Regina (a role she also played on stage), one might ponder how Rachel McAdams in the original film made an impact without that catchy song.

I won’t claim that this version is superior; both were penned by Tina Fey, who also produced the new movie. Rest assured, “Mean Girls,” the movie musical, faithfully preserves the spirit and essence of the film that revamped and mythologized the culture of gossip and backstabbing for a new generation.

The new movie contemporized the material in several ways. Regina and her clique’s fashion now exudes a postmodern trash chic, making the original trio’s miniskirts and high heels appear ancient. Social-media montages, appearances by Megan Thee Stallion and a surprise star as the Mathletes judge, and up-to-the-minute jokes infuse the film with a modern touch. Even Damian, the flamboyant outlier, is portrayed by Jacquel Spivey with a knowing verve that eliminates any hint of condescension.

The most contemporary aspect of the new “Mean Girls” may evoke mixed feelings. Originally intended for streaming on Paramount+, the studio wisely transformed it into a theatrical feature. Directed by Samantha Jayne and Arturo Perez Jr., the film, shot by cinematographer Bill Kirstein, adopts a gliding, almost frictionless style, creating the illusion of one long shot doubling back on itself. While it enhances the musical numbers, it also makes them all pop in a similar way. “Mean Girls” could have been more dynamic if it embraced a slightly more stationary approach.

However, the film’s story immerses you once again in the comic vision of a teen culture characterised by vindictive one-upmanship. Tina Fey’s stroke of genius was taking the evolution of the “mean girl” to the next level, suggesting that she could be anyone. Cady Heron, portrayed by Angourie Rice, starts as a nice, home-schooled girl from Kenya and gets entangled in Regina’s treacherous world. The film’s twist on the Burn Book is like “Harriet the Spy” updated for the Instagram age, adding a contemporary flair to the narrative.

The songs guide you through, with the cross-cutting fireworks of “Revenge Party” standing out. The story still crackles, particularly when it reveals the Burn Book, Regina’s secret compendium of viciousness. Auli’i Cravalho, as Janis, creates the film’s most authentically gritty everygirl character, while Angourie Rice convincingly portrays the transition from nice to mean. “Mean Girls” cleverly asserts that the meanness pervading teenage life is, at its core, a performance – to be mean is to be someone other than yourself.