The word “great” can’t even begin to describe the whirlwind / epic / reinvented classic film that is Baz Lurhmann’s long-awaited (and deservedly so) The Great Gatsby, an adaptation of F. Scott Fitzgerald’s seminal novel, which stars Leonardo DiCaprio (Django Unchained), Tobey Maguire (The Spider-Man trilogy), Carey Mulligan (An Education), Joel Edgerton (Warrior), Isla Fisher (The Bachelorette), Aussie newcomer Elizabeth Debicki, and Indian screen veteran Amitabh Bachchan. The winning combination of compelling performances in challenging roles proves that this mixed A-list and up-and-coming cast comprises the most magical ingredients to great acting in a greater movie.
From the very opening credits, which are clad in luxe, golden-hued art-deco graphics of Jay Gatsby’s initials, I was instantly transformed back to 2001 when Luhrmann’s Moulin Rouge hit theaters. There’s an obvious tragedy unfolding and we’re brought to the near-end of the story, where Maguire’s Nick Carraway narrates the darkness and decadence of his complicated, romantic, and tortured tale.
The accomplished director not only entertains his audience, but captivates with surprisingly well-placed 3-D effects and transports any viewer into a realm of multiplying excess. Each scene pulls at the very fiber of imagination, which makes watching movies an experience beyond pleasure and escape. Of course all of Fitzgerald’s literary themes and motifs are present, including the green light across the bay, the all-seeing, owl and God-like glasses of Doctor T.J. Eckelburg, and the frothy façade of wealth causing a decline in the American dream. Fitzgerald can rest easy with Lurhmann’s complimentary and faithful depiction, which will hopefully inspire adolescents to explore more of the author’s prestigious work.
First, DiCaprio’s embodiment of Jay Gatsby / James Gatz covers all the appropriate bases for American literature’s iconic Jazz Age tycoon. The unexpected blend of heart-warming humor, swooning charm, hopeful imagination, and ultimate calamity makes for expert smirks, clenching squints, grandiose gestures, and the terrifying vulnerability of hesitation. There is absolutely no other professional Hollywood actor who could have provided so much aching despair and vitality to a character like DiCaprio has done with Gatsby. The William Shakespeare’s Romeo & Juliet lead has proven time and time again that he’s graduated from the heartthrob Titanic image that won the hearts of teens in the late 1990s. The Great Gatsby is yet another stunning example that this guy deserves a darn Oscar already!
The on-screen chemistry between DiCaprio and Maguire is undeniable, and even predictable since the pair are so well-known as friends in real-life. However, it’s most exciting to watch Nick’s transformation as a result of so many situations that Gatsby forces Nick to endure. The once bright-eyed writer-turned-aspiring-Wall-Street-magnate is faced with alcoholism, destroying his naïve dreams of the world, and is wrought with the painful secrets and lies of the company he keeps. There were certainly moments when I forgot that the film was supposed to concentrate on Gatsby’s downfall, but Maguire’s engaging metamorphosis as Nick would qualify him in any Best Actor category during awards season, way above a supporting role.
Mulligan is the wispy leading lady and reason for all the extravagant clamoring. The British actress shows enough restraint for the doe-eyed Daisy Fay Buchanan, while also mesmerizing with the sweetest giggle, most vulnerable weep, and flick of her cigarette-holding / dripping-with-diamonds wrist. The Oscar nominee has found her delicate place among the strong, male-dominated cast with careful precision and mastery of emotion. She offers complexity to Daisy’s love of love, yet understands the character’s shallowness and materialism, which masks the emptiness and torture brought upon by the circumstances of the lavish Roaring Twenties. With each gulp of indulgent champagne and change into the finest wardrobe in all of New York, Daisy is no fool beneath the surface and Mulligan does her best to win us over.
Clearly, Gatsby is the romantic and Nick is the bait, which makes Edgerton’s character, Tom Buchanan, the villain. Despite his affair with Fisher’s Myrtle Wilson, Tom is the most raw and honest character in the whole movie. He is pompous, racist, a skeptic, and dangerously intelligent. I loved learning about Edgerton’s depth as an actor through Tom’s very diverse and heavy qualities. He is at his best when faced with the extremes of emotion like fury at the insinuation that Daisy never truly loved him, and the pangs of heartbreak amid a chaotic mob that publically recounts Myrtle’s fateful demise. Surely, this role will help advance Edgerton to becoming a household name. I was very glad to see the lesser-known actor get his chance to shine, especially when it was originally reported that the part of Tom Buchanan was offered to Ben Affleck, who declined to work on a little project you might have heard of called Argo.
Next on the list is Debicki as Jordan Baker, the professional golfer and brunette flapper companion to Daisy. There were glimpses of a young, androgynous Cate Blanchett early in the film, but Jordan’s role diminishes as the love triangle between Jay, Daisy, and Tom heightens. If I recall correctly, Fitzgerald’s presentation of Jordan is that of an independent, out-spoken love interest to Nick, yet these details fade away once the plot thickens. Luhrmann has created Jordan simply as a pawn- an enchanting one, yes- who fills in each party scene or social situation waiting for a rising action.
Also, Myrtle is a secondary character who shrinks behind the shadow of Mulligan’s Daisy. Fisher’s trashy, city-girl accent, bold costumes, and shameless flirtations with Tom in public, make for a refreshing opposition against all the well-tailored linen, lace, glitter, and feathers that follow Daisy and Jordan.
Speaking of costumes… I could be here all day taking about the men’s and women’s opulent fashions from the era. Not a stitch goes unnoticed with Catherine Martin’s glamorous and genius collaboration with Miuccia Prada (designer of labels: Prada and Miu Miu). The 3D effects were especially appealing when it came to recognizing the luxurious textures, which are brought to life throughout the summer in the film. The sparkling headpieces, detailed drop-waist dresses, and sleek and stylish suits make this time period piece all the more true spectacular. Clearly, The Great Gatsby has already topped my list of the most fashionable films of 2013!
Additional key players are Jason Clarke as Myrtle’s husband, George Wilson, a down-on-his-luck mechanic, as well as Meyer Wolfsheim, played by Bachchan. They’re each token players, yet from different sides of the tracks. One loses everything and one of them has everything, revealing the tragedy of societal balance between the haves and have-nots.
While I’m relieved to hear that Luhrmann has opted away from the musical magic of performed covers by his actors, as seen in Moulin Rouge with popular songs from Elton John and Madonna, there were times throughout the film’s soundtrack that took away from the dramatic essence of a scene
, but these comments represent simple nitpicking. I was well-aware of Jay-Z’s involvement for the movie’s music, but I just couldn’t quite wrap my head around the ill-fitting placement of “H to the Izzo” in its original recorded form while Gatsby and Nick are driving over the Queensborough Bridge. If there’s any director who can get away with such soundtrack choices, it’s definitely Luhrmann.
Also, when we’re first getting to see Gatsby’s vision of New York from Nick’s inexperienced point of view, the faint chant of Alicia Keys’ “Empire State of Mind” just seems unnecessarily silly and contrived. Since the theme of race and class separation is constantly visual in the story, I was left wondering why Luhrmann didn’t reinterpret popular music of the time period beyond that of a neighboring trumpeter outside Tom’s love-nest apartment in the city. Instead, plenty of obnoxious, roof-raising dance beats accompany Gatsby’s audacious parties.
Although, while reinvented covers of Beyoncé Knowles’ “Crazy In Love” by Emeli Sandé and Mrs. Carter’s brief nod to Amy Winehouse’s “Back To Black” compensate for any musical mishaps, they create a haunting connection to the 1920s for a modern-day audience. The seductive anthems, “Young and Beautiful” by Lana Del Rey and Florence + The Machine’s “Over The Love,” are cleverly repeated in the same cryptic manner that reflects Gatsby’s inability to let go of the past.
There’s absolutely no doubt in this movie that the concept of hope is struggling to survive, even as the body count increases. The melodramatic season between West Egg, East Egg, and New York City thrives with relevance, teaching us to keep dreaming no matter the cost and acknowledge the rules to building personal success, as well with fortune and in the ranks of society. Most of all, with this hope, we need to recognize, embrace, and live by it in order to truly achieve greatness, without losing touch with the present.
I’d like to apologize for the indulgence in any apparent literary criticism that may have occurred during the course of this film review. It’s simply a testament to Luhrmann and Craig Pearce’s effective screenwriting skills. I love the clear cut dichotomies in that Gatsby’s entire existence is built on lies and he ultimately meets his fate with even more lies attached to his tainted legacy. Luhrmann and Pearce’s manipulation of the Fitzgerald original text makes for obvious and thoughtful lessons that any audience should consider beyond the movie theater or literature class.
Overall, Luhrmann has the ability to be untraditional, creating his own enchanting traditions for storytelling, as well as inspiring the artists, writers, and performers in the audience to dissect the beautiful and dark corners of our imaginations. Simply, you just can’t make The Great Gatsby without redefining what it means to be over-the-top and introduce a visual feast for all filmmakers to try and surpass. Lurhmann takes every opportunity by its jugular and succeeds with his own signature, cinematic greatness.
Rating: A must-see, worth-it big screen epic that will take you on an emotional journey of reflection, which is celebrating and loyal to F. Scott Fitzgerald’s original work. (10/10)
Recent Comments