THE GREAT GATSBY
If anyone can depict the elaborate parties of the 1920's Jazz Age from the mind of F. Scott Fitzgerald, it would be Baz Luhrmann. Baz simply does elaborate and extravagant, say what you will about his movies; but theyre never boring to look at. But does the sheen and sparkle take priority over Fitzgerald's great American story about Jay Gatsby and his enigmatic endeavour to win back his love? While the visuals and gloss may take priority, Luhrmann does not loose the heart of Gatsby; unlike Australia he reins himself in, but there's still Baz: anachronistic music courtesy of Jay-Z, sparkling visuals, and melodrama.
But the performances are by no means melodramatic; Leonardo DiCaprio continues to prove himself to be a versatile actor, embodying Gatsby. Carey Mulligan may be an odd choice for the waify Daisy Buchanan, but she gives a dramatic but not overly done performance. Tobey Maguire is serviceable, but still cannot shed shades of Peter Parker. The supporting performances are strong; Joel Edgerton dispels any possibility of being designated a Sam Worthington label by giving a suitably slick performance as Tom Buchanan, Jason Clarke is also strong as the minor role of George Wilson. Luhrmann and co. also may be trying to appeal to a Bollywood demographic and trying to remove some of the stereotypical anti-Semitism from Meyer Wolfsheim; with Bollywood legend Amitabh Bachchan appearing briefly but giving us an insight to the true source of Gatsby's wealth.
But the performances are by no means melodramatic; Leonardo DiCaprio continues to prove himself to be a versatile actor, embodying Gatsby. Carey Mulligan may be an odd choice for the waify Daisy Buchanan, but she gives a dramatic but not overly done performance. Tobey Maguire is serviceable, but still cannot shed shades of Peter Parker. The supporting performances are strong; Joel Edgerton dispels any possibility of being designated a Sam Worthington label by giving a suitably slick performance as Tom Buchanan, Jason Clarke is also strong as the minor role of George Wilson. Luhrmann and co. also may be trying to appeal to a Bollywood demographic and trying to remove some of the stereotypical anti-Semitism from Meyer Wolfsheim; with Bollywood legend Amitabh Bachchan appearing briefly but giving us an insight to the true source of Gatsby's wealth.
Luhrmann's use of music is polarizing, to say the least. While it would have been easy just to use period music, Luhrmann instead opts for the services of Jay-Z to create a modern and diverse soundtrack that may not be historically accurate, but in the same way that anachronistic music was used in Moulin Rougue it works in Gatsby. There are a few jazzy inflections in some of the songs, such as Love Is The Drug, while Lana Del Rey and Florence + The Machine offer dramatic ballads that echo the themes of Fitzgerald's book; in particular the mention of the "green light" in Over the Love. The rap may be more jarring, but Lurhmann utilises it only where it would work; in the lavish and indulgent parties.
And the parties are one of Gatbsy's strong suits. There is depth in this film, but the flash and bang is done with aplomb, Luhrmann always does deliver on that element of his films. The heart of Gatsby never gets lost in all the glitter and champagne; it can become vague sometimes, and the framing tool of Nick Carraway's psychiatric counselling may disagree with purists; but the heart of Gatsby beats true; Fitzgerald's commentary on the American Dream has relevance now as it did almost ninety years ago.
And the parties are one of Gatbsy's strong suits. There is depth in this film, but the flash and bang is done with aplomb, Luhrmann always does deliver on that element of his films. The heart of Gatsby never gets lost in all the glitter and champagne; it can become vague sometimes, and the framing tool of Nick Carraway's psychiatric counselling may disagree with purists; but the heart of Gatsby beats true; Fitzgerald's commentary on the American Dream has relevance now as it did almost ninety years ago.
Gatsby's is not a flawless film. It does clock in at almost three hours, but manages to stretch a pretty straightforward and uncomplicated story without making it seem overwrought or bloated. With each adaptation of Fitzgerald's novel adding a new take; the 1940's version framing the Jazz Age with period inflections of noir, while 1974's Jack Clayton-Robert Redford version has lavish costumes and style to boot, but not much else. Luhrmann's version improves on the flaws of Clayton's '74 take, but it still has some of its issues. Fitzgerald's landmark novel is a difficult tale to tell on screen, and while not all of Baz Luhrmann's risks pay off, when his gambits work they work well, and if any, Gatsby is a visual treat.
The Verdict: It may be a bit indulgent and overlong, but Baz Luhrmann's The Great Gatsby excels on visuals and soundtrack, and manages to retain the heart of Fitzgerald's novel, even if not every move pays off
The Verdict: It may be a bit indulgent and overlong, but Baz Luhrmann's The Great Gatsby excels on visuals and soundtrack, and manages to retain the heart of Fitzgerald's novel, even if not every move pays off
★★★★
4/5
4/5