Infusing F. Scott Fitzgerald’s classic with a soundtrack by Jay-Z and over-the-top art design, Baz Luhrmann’s adaptation of this American classic is audacious, elaborate, and touches on both genius and disappointment. The tantalizing visuals create a computer generated New York City that feels impossible and almost surreal, perhaps creating too elaborate a world, perhaps setting just the right tone for Fitzgerald’s characters, who exist “within and without”. Herein lies the difficulty of reviewing The Great Gatsby, for it frequently approaches greatness, but at times over-corrects itself in a disappointing fashion.
The story many know and love has been tweaked a little bit here so as to frame things as Nick Carraway’s (Tobey Maguire) writings from some asylum for possible alcoholism. While this doesn’t change the importance of Gatsby and the underlying motifs of the work, it is a disappointment to fans of the novel. The rest of the movie follows Fitzgerald’s plot quite accurately, describing Carraway’s first interactions with the rich and elusive Jay Gatsby (Leonardo DiCaprio), and the eventual fleshing out of Gatsby’s character. The body of the film surrounds Jay Gatsby and his longings to be with the beautiful Daisy (Carey Mulligan) once again. His desperate longing is personified in the green light at the end of her dock across the bay in East Egg, once of the many symbols successfully converted in this adaptation. Luhrmann is quite happy to sweep across Manhasset Bay many times to drive home the divide between Gatsby and Daisy.
The story many know and love has been tweaked a little bit here so as to frame things as Nick Carraway’s (Tobey Maguire) writings from some asylum for possible alcoholism. While this doesn’t change the importance of Gatsby and the underlying motifs of the work, it is a disappointment to fans of the novel. The rest of the movie follows Fitzgerald’s plot quite accurately, describing Carraway’s first interactions with the rich and elusive Jay Gatsby (Leonardo DiCaprio), and the eventual fleshing out of Gatsby’s character. The body of the film surrounds Jay Gatsby and his longings to be with the beautiful Daisy (Carey Mulligan) once again. His desperate longing is personified in the green light at the end of her dock across the bay in East Egg, once of the many symbols successfully converted in this adaptation. Luhrmann is quite happy to sweep across Manhasset Bay many times to drive home the divide between Gatsby and Daisy.
The colossal role of Jay Gatsby requires much of an actor, a star with great stage presence yet with a deep understanding of character and emotion at a core level. In many ways, DiCaprio is the only logical choice for Fitzgerald’s tragic hero, for he commands presence on screen and yet can reveal deeply ridden emotion behind a harsh exterior. Jay Gatsby, the poor boy who reinvented himself and achieved fame and fortune all for the love of a girl, spends his nights alone in a house that’s constantly bustling with wild parties. Gatsby’s grandiose mansion is bathed in elaborate decadence, resembling a theme park of music, alcohol, and royally egoistic parties. The steep turrets and terraced gardens are monument to the decadence of the 1920’s, yet Gatsby chose the property primarily for its view across the bay to Daisy’s estate, then set about designing a house fit for kings to live in with Daisy. Gatsby walks the line between self-confidence and doubt, and DiCaprio internalizes the ticks that are associated with both. His Gatsby is as grand and reputable as his house and his parties, yet Gatsby holds secrets and he reveals to Carraway some of his more personal traits as the film goes on. We get a sense that DiCaprio is hiding Gatsby’s fear of people’s impressions of him with every “old sport” he blithely adds to conversations.
The supporting roles filled by Carey Mulligan as Daisy Buchanan and Joel Edgerton as her cheating and partying husband. Tom Buchanan knows Carraway from school, and Daisy is Carraway’s cousin. Through interactions with their family Nick comes to know of this Gatsby figure he will later become close to. Carey Mulligan has always committed to roles with dedication, and her stint as Daisy is no different here. She plays the part with a calm and almost cold sensibility, symbolizing both the rich boy’s trophy wife and Gatsby’s long-lost over all at once.
Perhaps the largest contribution to the Gatsby legacy this film provides (aside from DiCaprio’s performance) is the living and breathing world of greater New York brought to life here. One thing the film certainly captures well is the massive scale of Gatsby’s yellow car and the speed of it as it races through the landfills and bridges that separate West Egg from Manhattan. The actors swim through collages of color as they move swiftly through the surreal city. Luhrmann also does a strong job of capturing the Valley of Ashes and the all-seeing eyes of Dr. Eckleburg atop that faded billboard. As Fitzgerald’s magnus opus, The Great Gatsby remains a truly great work of American literature that can never be fully adapted with the same spirit as the novel. That being said, this film still succeeds on its own, and is in all likelihood the best attempt at a retelling yet.
The supporting roles filled by Carey Mulligan as Daisy Buchanan and Joel Edgerton as her cheating and partying husband. Tom Buchanan knows Carraway from school, and Daisy is Carraway’s cousin. Through interactions with their family Nick comes to know of this Gatsby figure he will later become close to. Carey Mulligan has always committed to roles with dedication, and her stint as Daisy is no different here. She plays the part with a calm and almost cold sensibility, symbolizing both the rich boy’s trophy wife and Gatsby’s long-lost over all at once.
Perhaps the largest contribution to the Gatsby legacy this film provides (aside from DiCaprio’s performance) is the living and breathing world of greater New York brought to life here. One thing the film certainly captures well is the massive scale of Gatsby’s yellow car and the speed of it as it races through the landfills and bridges that separate West Egg from Manhattan. The actors swim through collages of color as they move swiftly through the surreal city. Luhrmann also does a strong job of capturing the Valley of Ashes and the all-seeing eyes of Dr. Eckleburg atop that faded billboard. As Fitzgerald’s magnus opus, The Great Gatsby remains a truly great work of American literature that can never be fully adapted with the same spirit as the novel. That being said, this film still succeeds on its own, and is in all likelihood the best attempt at a retelling yet.