Director Baz Luhrmann’s films always seem to generate wildly mixed reactions, from his 1996 version of “Romeo + Juliet” to Nicole Kidman and Hugh Jackman’s romantic drama “Australia”. And who can forget the Oscar winning “Moulin Rouge!” Luhrmann’s latest, his take on F. Scott Fitzgerald’s classic novel, The Great Gatsby, was supposed to be released last Christmastime as a primary Oscar contender. How would awards season been different if “Gatsby” had been in the mix against “Argo”, “Lincoln”, “Silver Linings Playbook” and “Les Miserables”?
We’ll never know. Instead, after a five-month delay due to weather issues in Australia, a 3D post-conversion and the addition of musical coordinator/producer Jay-Z, “The Great Gatsby” finally was released in May. When I know a film based on a book is coming out I like to avoid reading the book so as not to interfere with my enjoyment of the movie. I was advised to read the first two chapters of The Great Gatsby, to get a feel for the setting and the tone of the story. But just from those 30 pages, it’s clear to me that Luhrmann wanted to stay somewhat true to Fitzgerald’s work.
If you’re not familiar with “Gatsby” – maybe haven’t read the book since high school – it’s set at the height of the Roaring Twenties, on Long Island. In both the book and the movie the story is told by Nick Carraway. In the film, however, Carraway (played by Tobey Maguire) is telling his tale to a Doctor from inside the mental ward of a hospital and is actually writing the novel. This devise by Luhrmann will upset fans of the book and didn’t seem necessary.
There are only a handful of characters you need to know about: Nick is Daisy’s cousin. He’s come to New York to work on Wall Street. Daisy Buchanan (played by Carey Mulligan), is a rich socialite who is married to Tom (Joel Edgerton), who’s both wealthy and arrogant. He has a mistress, Myrtle Wilson, who’s married to George, who owns a drug store.
Oh, I’m leaving someone out: Yes old sport, it’s Jay Gatsby. For awhile he’s simply Nick’s mysterious neighbor, who he hears rumors about but who no one ever sees, even during the wild parties he throws at his enormous mansion. But then we’re introduced to Gatsby. Leonardo DiCaprio embodies the character as a man who has everything in life except the one thing he wants the most. Nick, the ultimate outsider, gets caught-up in a high-tempo, unraveling saga with Gatsby, the Buchanans, the Wilsons and a few others that plays-out like very much like a soap opera: filled with love, hate, betrayal, power and revenge.
There’s no question that Luhrmann’s direction, the visual effects and overall look of “The Great Gatsby” make this version of Fitzgerald’s novel quite unique. Many who see “Gatsby” will embrace it – others will tear it apart, starting with the use of contemporary music that is far from what people were listening and dancing to in the 1920’s (the music worked for me). Even though I stopped reading the book after Chapter 2, I know that Luhrmann does make some subtle, yet important changes to the story as well. That’s not going to go over well with the purists.
The film starts very fast – going at such a wild pace that I almost couldn’t keep up, and apparently neither could the editors. Several times (mostly in one scene where Gatsby’s driving Nick in his spectacular yellow car) DiCaprio’s mouth doesn’t match up with what he’s saying. That’s just sloppy.
However, it’s tough not to like this movie. The characters are well defined and the themes are timeless. And once Luhrmann allows the strength of Fitzgerald’s story – which is the characters and the themes – to take center stage, “Gatsby” takes-off, leading to a powerful second half and a memorable conclusion.
DiCaprio is excellent in a multi-layered performance as a man who’s both “larger than life” and emotionally fragile. Edgerton has some strong moments and Mulligan is also good, especially in her scenes with DiCaprio. Maguire’s Carraway is the perfect representation of how most of us would act if put in this situation. The supporting cast includes Isla Fisher as Myrtle and “Zero Dark Thirty”‘s Jason Clarke as George. It’s a fantastic ensemble.
“The Great Gatsby” is rated PG-13 for some disturbing images, adult content, and language. It’s appropriate for teens and up and is a must-see for students currently studying the novel, because it will generate a lot of classroom discussion. True fans of the book will likely hate it, but I’ve got to give Luhrmann credit for attempting to turn this complex and beloved American classic into a mainstream movie. It’s not “Great”, but it is quite good.
On The Official LCJ Report Card, “The Great Gatsby” gets a B.