Yesterday afternoon I finally got round to going to the cinema to see Luhrmann's new film The Great Gatsby (Orange Wednesdays woo!). Since hearing about the film around Christmas time, I have been buzzing with anticipation: as a keen bookworm; Luhrmann fan (his version of Romeo & Juliet was breathtaking); and admirer of the beautiful Leonardo DiCaprio (a perfect casting for this role!). The Great Gatsby seemed to be made for me!
I first read the novella last October, as part of an A Level coursework. I immediately fell in love with the epicurean lifestyle of the roaring twenties; the excess, the glitz, the glamour. The whole era oozed seduction and sex appeal, which is why I was so happy when it was announced Luhrmann was directing the new film. Luhrmann is brilliant at bringing out the theatricality and cinematic 'wow' factor of classic stories by interpreting and manipulating them from a 21st century point of view.A modern interpretation Luhrmann conveys is the use of Nick's therapy for alcoholism and depression to reveal the story of Gatsby. In the novella, the tale is also told through Nick's narrative, but there is no suggestion that this is due to psychological counselling. It seems that this is an interesting comment, a condemnation almost, of the exuberant jazz age. This interpretation is really effective in showcasing the devastation caused by the carelessness of the rich - such as Tom and Daisy - and increasing the sadness of the fate of the oh so hopeful Jimmy Gatz.
The eccentric parties thrown by Gatsby are all in the hope that Daisy, a former lover and holder of his heart, stumbles in one day, drops her entire life and falls into his arms. All very naive you might say, but you can't help but falling in love with his consistent hope. It's obvious that this hope fuels his entire lifestyle, and going by the lavishness of his lifestyle, it's pretty strong! The exhilerating energy of the party scenes, emphasised by the phenomenal soundtrack, makes you breathless just watching them.
Focusing on the soundtrack, the featured artists really are a 'who's who' of modern culture. From Jay-Z (executive producer of the soundtrack) and his wife Beyonce, to Florence Welch, The XX and Jack White. The likes of Jay-Z and Fergie (of The Black Eyed Peas) are perfect for enforcing the captivating visuals of Gatsby's parties, whereas Florence and Lana Del Rey really deliver with the soulful emotive tracks which provide goosebumps galore!
Aside from the lavish excess of Gatsby's lifestyle, the film is dominated by the rekindling romance of Gatsby and Daisy. When I read the book, I (for God knows what reason) envisioned Zooey Deschanel as Daisy, and so was apprehensive whether or not Mulligan would be able to fulfil the role that Fitzgerald had so effortlessly created. I was pleasantly surprised at her performance, and found she succeeded in oozing the nonchalant attitude of the rich, as well as looking stunning in every scene. I was a bit disappointed however, that it wasn't really obvious how much of a bitch Daisy is to Gatsby; I don't feel it came across how money-obsessed she is, and the heartlessness of her decision to ignore Gatsby when he returned from the war because he wasn't rich like Tom, was lost.
I can imagine many Fitzgerald fans will be furious that the film wasn't exactly true to the novella. The overarching plot was still present though, and I think some of the things in the novel needed to be dropped, or adapted, to make it appeal to a modern day audience. For example, the novella suggests a possible romance between Nick and Jordan, which doesn't feature at all in the film, unless we count the brief playfulness of their hunt for Gatsby at one of the parties. I wasn't too 'offended' by this decision however, as it doesn't go anywhere in the novella, and it would distract from the tormented relationship of Gatsby and Daisy.
At the end of the film, you're left with an overriding sense of sadness and loss as the gradual expiring of Gatsby's desired future is stolen by a gunshot of a grieving husband. Even moments before death, his hope is still present as the phone rings. Unbeknownst to Gatsby, it isn't Daisy ringing, as she promised. No, instead Daisy is running away with Tom and her daughter, escaping the chaos and abandoning the one who would literally do anything for her. The person on the other end of the line is, in fact, Nick, the only one true friend Gatsby ever had.
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