|2013||143 Min||Romance . Drama|
An adaptation of F. Scott Fitzgerald's Long Island-set novel, where Midwesterner Nick Carraway is lured into the lavish world of his neighbor, Jay Gatsby. Soon enough, however, Carraway will see through the cracks of Gatsby's nouveau riche existence, where obsession, madness, and tragedy await.
|Actors:||Carey Mulligan , Tobey Maguire , Leonardo DiCaprio , Joel Edgerton , Elizabeth Debicki , Isla Fisher , Jason Clarke , Amitabh Bachchan , Callan McAuliffe , Adelaide Clemens|
It’s a terrific adaptation that succeeds not only as a work of cinema but also, wonderfully, as proof of the novel’s greatness. In short, the picture rebukes the revisionists even while entertaining them.
Amidst all the fireworks and the cascading champagne and the insanely over-the-top parties, we’re reminded again and again that The Great Gatsby is about a man who spends half a decade constructing an elaborate monument to the woman of his dreams.
Baz Luhrmann’s The Great Gatsby is the first must-see film of Hollywood’s summer season, if for no other reason than its jaw-dropping evocation of Roaring ’20s New York — in 3-D, no less.
Now comes director Baz Luhrmann, who’s incapable of taking anything literally, and what do we get? The “Gatsby” that, of three I’ve seen and two I’ve read about, seems most faithful to the spirit of Fitzgerald’s superbly sad book. His audacity pays off in a way that may not exactly reproduce the novel but continually illuminates it.
When the camera glides down a pier to settle for the first time on Gatsby's face, it's a movie-star moment of the sort we don't often get anymore, and there aren't many actors who could pull off Gatsby's mixture of confident charisma and pathetic vulnerability.
As a purely sensory experience at the movies you're hard-pressed to find anything more dazzling than the first 90 minutes of The Great Gatsby, when Luhrmann's riotous amusements make anything possible.
The Great Gatsby is both swooningly romantic and giddily energetic.
This movie hangs utterly on performance, and DiCaprio’s Gatsby is mesmerizing.
It is, as I suspected, a gargantuan hunk of over-art-directed kitsch, but it makes for a grandiose, colorful, pleasure-drenched night at the movies.
The actors emote up a summer storm. Maguire’s otherworldly coolness suits the observer drawn into a story he might prefer only to watch. DiCaprio is persuasive as the little boy lost impersonating a tough guy, and Mulligan finds ways to express Daisy’s magnetism and weakness.
You can find fault with virtually every scene in Luhrmann’s The Great Gatsby — and yet in spite of all the wrong notes, Fitzgerald (and the excess he was writing about and living) comes through. The Deco extravagance of the big party scenes is enthralling. Luhrmann throws money at the screen in a way that is positively Gatsby-like, walloping you intentionally and un- with the theme of prodigal waste.
Less a conventional movie adaptation than a splashy, trashy opera, a wayward, lavishly theatrical celebration of the emotional and material extravagance that Fitzgerald surveyed with fascinated ambivalence.
It's an expressionist work, a story reinvented to the point of total self-invention, polished to a handsome sheen and possessing no class or taste beyond the kind you can buy. And those are the reasons to love it.
No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.
It's a dazzling time capsule of a shimmering era and a devastating look into the dark side of the American dream. Too bad Luhrmann, the caffeinated conductor, doesn't trust that story enough. He'd rather blast your retinas into sugar-shock submission. Uncle, old sport! Uncle!
Even when the movie's not working, its style fascinates. That "not working" part is a deal breaker, though — and it has little to do with Luhrmann's stylistic gambits, and everything to do with his inability to reconcile them with an urge to play things straight.
It has in Leonardo DiCaprio — magnificent is the only word to describe this performance — the best movie Gatsby by far, superhuman in his charm and connections, the host of revels beyond imagining, and at his heart an insecure fraud whose hopes are pinned to a woman.
This is a film which takes classic source material and imbues it on screen with a sense of wonder commensurate to its prior form, perhaps offering an even more visceral impression of the possibilities inherent to this beautiful, tragic world.
What Luhrmann makes intoxicating is a sense of place – the houses, the rooms, the city, the roads – and the sense that all this is unfolding in a bubble like some mad fable. Where he falters is in persuading us that these are real, breathing folk whose experiences and destinies can move us.
Gatsby fans will be unoffended yet untransported, but soundtracks will sell, DiCaprio will be on bedroom walls again and new readers may discover the book - which is no bad thing.
The acting is really good, particularly Leonardo DiCaprio as Gatsby. But boy, with a running time of nearly 21/2 hours and a near-constant bombardment of visual overstimulation, it’s exhausting.
More often, Gatsby feels like a well-rehearsed classic in which the actors say their lines ably, but with no discernible feeling behind them.
Like Romeo + Juliet (1996), Luhrmann’s version of The Great Gatsby emerges as a half-reverent, half-travestying adaptation that’s campy but not a betrayal, offering a lively take on a familiar work while sacrificing such niceties as structure, character, and nuance.
In the end, his (Luhrmann) Gatsby takes the fitting form of a cocktail glass, at once undeniably polished and unfailingly empty.
With the sound off, Baz Luhrmann’s The Great Gatsby surely looks as radiant and extraordinary as some of the most dazzling movies ever committed to celluloid, but with the sound up and the experience on full volume, the movie is mostly a cacophony of style, excess and noise that makes you want to turn it all down a notch...or three...
When Luhrmann finally reveals the title character, he does so as assorted partygoers work themselves into a frenzy, Rhapsody in Blue pounds on the soundtrack and fireworks explode in the sky...Unfortunately, the film is never again as successful; from here on, it has to dig into the bothersome business of telling Fitzgerald's story.
There are so many things wrong with Luhrmann's Great Gatsby - the filmmaker's attention-deficit-disorder approach, the anachronistic convergence of hip-hop and swing, the choppy elision of Fitzgerald's plot, the jarring collision of Jazz Age cool and Millennial cluelessness. But at the crux of things, the problem is that it's impossible to care.
Tobey Maguire is fine as Nick but his function is more as an observer than a participant. Carey Mulligan's Daisy is unremarkable in every way. And Joel Edgerton is just a mustache twirl away from doing a Snidely Whiplash impersonation.
Luhrmann’s The Great Gatsby is a failure that should have at least been a magnificent mistake, a risky endeavor that showed a daring intent even if its brash vision didn’t quite succeed. Instead, the movie leaves you cold and weary and vaguely disgusted.
Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great.
Despite a few good ideas and the uniformly splendid production and costume designs by Luhrmann's mate and partner, Catherine Martin, this frenzied adaptation of The Great Gatsby is all look and no feel.
So much effort seems to have gone into the eye-popping production design, swooping camera work and anachronistic musical score that the result is hyper-active cacophony rather than enthralling entertainment.
The Great Gatsby isn’t simply a classic American text: In Luhrmann’s hands, it’s also the greatest self-help manual ever written.
Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.
Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.
Luhrmann piles on one shiny distraction after another. But amid all the seductively gaudy excess, DiCaprio finds both the heart and hurt buried within one of literature’s everlasting enigmas.
The director has steadfastly proclaimed his passion for the novel, but the film he's made of it too often plays as no more than an excuse to display his frantic, frenetic personal style.
Luhrmann has always had a knack with the fever of passion, but here he only catches high fever’s empty gibberish.
Whether or not Luhrmann’s “Gatsby” will go down in history as a legendary flop is not for me to judge (though all signs currently point toward yes), but it surely belongs to the category of baroque, overblown, megalomaniacal spectacles dubbed “film follies” by longtime Nation film critic Stuart Klawans.
Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged.
What's intractably wrong with the film is that there's no reality to heighten; it's a spectacle in search of a soul.
There may be worse movies this summer than The Great Gatsby, but there won't be a more crushing disappointment.
I love the publicity quotes by Baz Luhrmann stating that his intention was to make an epic romantic vision that is enormous. Also: overwrought, asinine, exaggerated and boring. But in the end, about as romantic as a pet rock.
1. Together ( Writer: F. Scott Fitzgerald )
2. No Church In The Wild ( Performer: Jay-Z (as JAY Z) and Kanye West, Frank Ocean and The Dream )
3. Young and Beautiful ( Performer: The Bryan Ferry Orchestra )
4. Young and Beautiful ( Performer: Lana Del Rey )
5. Let's Misbehave ( Performer: Irving Aaronson and his Commanders )
6. Hearts A Mess ( Performer: Gotye )
7. St Louis Blues ( Performer: Louis Armstrong )
8. Ain't Misbehavin' ( Performer: Louis Armstrong )
9. New Orleans Bump (Monrovia) ( Performer: Ferdinand 'Jelly Roll' Morton (as Jelly Roll Morton) )
10. Bang Bang ( Performer: Will i Am (as will.i.am) )
11. Love Is The Drug ( Performer: Bryan Ferry with The Bryan Ferry Orchestra )
12. Who Gon Stop Me ( Performer: Jay-Z (as JAY Z) and Kanye West )
13. A Little Party Never Killed Nobody (All We Got) ( Performer: Fergie Duhamel (as Fergie), Q-Tip and Goon Rock(as GoonRock) )
14. Bang Bang ( Performer: The Bryan Ferry Orchestra )
15. Over The Love ( Performer: Produced by Emile Haynie, Tom Hull and Baz Luhrmann Florence and the Machine (as Florence + The Machine) )
16. Rhapsody In Blue ( Writer: F. Scott Fitzgerald )
17. Izzo (H.O.V.A.) ( Performer: Jay-Z (as JAY Z) )
18. Still ( Writer: F. Scott Fitzgerald )
19. Empire State Of Mind (Pt II) Broken Down ( Performer: Alicia Keys )
20. 100$ Bill ( Performer: Jay-Z (as JAY Z) )
21. 100$ Bill ( Performer: The Bryan Ferry Orchestra )
22. Where The Wind Blows ( Performer: Coco O. of Quadron )
23. Crazy In Love ( Performer: Emeli Sandé and The Bryan Ferry Orchestra )
24. Crazy in Love ( Performer: The Bryan Ferry Orchestra )
25. Back to Black ( Performer: Beyoncé Knowles (as Beyoncé) and André Benjamin (as André 3000) )
26. Back to Black ( Performer: Bryan Ferry with the Bryan Ferry Orchestra )
27. Young and Beautiful ( Performer: Lana Del Rey )
28. Oh! You Have No Idea ( Performer: Andrea Martin and The Bryan Ferry Orchestra )
29. Together ( Performer: The Xx (as The xx) )
30. Love Is Blindness ( Performer: Jack White )
31. Into The Past ( Performer: Nero (as NERO) )
32. Hearts A Mess ( Performer: Gotye )
33. Can't Repeat The Past ( Performer: The Bryan Ferry Orchestra )
34. Infinite Hope ( Performer: The Bryan Ferry Orchestra )
35. Daisy's Theme ( Performer: The Bryan Ferry Orchestra )
36. Kill And Run ( Performer: Sia Furler (as SIA) )