The Great Gatsby
Directed by: Baz Luhrmann
Written by: Baz Luhrmann and Craig Pearce (screenplay), F. Scott Fitzgerald (novel)
Starring: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton

Baz Luhrmann (Moulin Rouge, Romeo and Juliet) has never been known for being subtle. His flamboyant directorial style is typically very divisive – audiences either love him or hate him. That will continue to be the case with his long awaited film adaptation of The Great Gatsby.

Book purists should be pleased; the movie is faithful to the F. Scott Fitzgerald literary classic. However, Luhrmann’s artistic interpretation of the source material might ruffle some feathers. The best advice I can give? Get over it. You know exactly what you are getting into when you shell out your dollars for a Luhrmann film. It’s not going to be conventional on any level. If familiarity is what you crave, go check out the 1974 adaptation with Robert Redford and Mia Farrow. It’s perfectly appropriate, if not a bit dull.

Tobey Maguire plays Nick Carraway, who recounts the story while being stuck in a sanatorium for being “morbidly alcoholic”.   After landing in New York (post World War 1), Carraway finds himself nestled in a modest dwelling next to the impossibly opulent residence of J. Gatsby (Leonardo DiCaprio). The mansion has become renowned for decadent parties that cater to the masses of Long Island’s elite. Curiously, few people have actually met their host. His identity is shrouded in mystery, making him the subject of wild speculation and gossip.

Carraway is one of the few people allowed into Gatsby’s inner circle, thanks to his cousin Daisy, who is the object of Gatsby’s obsessive affection. The two fell in love over five years ago, and Gatsby desperately wants to woo her back. Gatsby befriends Carraway hoping that he can lure Daisy to one of his lavish parties. It turns out that all the pomp and circumstance is solely for her benefit. Gatsby does get to reunite with his (now married) love, but it’s a bittersweet reunion.  Gatsby tries to turn back the clock on their relationship, to no avail. Therein lies the tragedy of the story. This man who seemingly has everything perceives that he has nothing, because he can’t have the love of his life. It’s the one facet of his life he can’t manipulate, and it ultimately causes his downfall.

The Great Gatsby is all about superficialities. The characters (Daisy, her husband Tom and Gatsby) are shallow and immoral and the guests that descend upon Gatsby’s mansion on a regular basis are the equivalent of modern day club kids just looking for their next rush. It comes into question whether Gatsby’s feelings for Daisy are genuine. Would he really care so much about her if she were actually attainable?

DiCaprio is well cast as Gatsby; it’s one of his better roles. He’s grandiose and powerful on the outside, but an insecure and immature man under the slick façade.  Joel Edgerton (Zero Dark Thirty) is quite good as Daisy’s cad of a husband. The weak link in Gatsby is Mulligan, who is void of charisma. It’s hard to believe she would have two men fighting over her. Maguire is a principal in the movie and fades into the background in his scenes with DiCaprio, but that is an accurate representation of his character. Carraway is intrigued and in awe of Gatsby and his power, even though that admiration is undeserved.

Luhrmann juxtaposes a rap score against the elaborate party scenes, and it works surprisingly well. He makes good use of 3D with confetti, billowing curtains and letters floating from a typewriter.  The first half is lively, vivid and wild, if not a bit garish. However, the second half of the movie trends toward tedious. It’s the same problem Les Miserables had last year – it just can’t live up to the promise of the first half. Thirty minutes could have easily been trimmed to avoid the slagging feel of the movie. Overall, though, Luhrmann has executed a unique vision of the book that’s worth a watch. — Shannon

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