Ladies and gentlemen, it has arrived. The gilded gift that is Baz Luhrmann's The Great Gatsby has finally hit theaters. I have so much I need to say, and much of which I don't want to have to say. (What?)
My friends and family have asked if the film was everything I had hoped, and to answer truthfully, I would have to say no. I had hoped that Luhrmann and company would surpass my moderate expectations, rather than meet them. Yet I had no qualms about seeing the movie twice, (once in 3D, once in 2D,) and managed to enjoy myself on both occasions. I feel very strongly, however, that my background knowledge of both the novel and Luhrmann's approach to it were helpful in my ability to appreciate this latest adaptation.
To begin with, let me express my feelings on a particular subject, and that is the idolization of the original F. Scott Fitzgerald novel. Mistake me not! I love The Great Gatsby. I have, however, come to the realization that Fitzgerald's story of disillusionment is what endures and speaks to us today. Since its publication in 1925, The Great Gatsby has inspired five film adaptations, several staged productions, at least one opera, pop songs, pop culture references, and undoubtedly there exists fan fiction. Think of it; as with any great work, or any form of expression, it is an inspiration. Each variation is just that - a variation. As Luhrmann was able to adapt Romeo + Juliet to appeal to contemporary audiences, he has sought to put Gatsby on screen: with bright colors, a driving pulse, popular music, and extraordinary costumes. A great deal of thought and analysis went into the preproduction and filming (if not postproduction, the problems with which I'll get to later).
Ever since the news of the film's release date coinciding with my birthday, I've been closely following the bread crumbs Luhrmann's been offering to the masses. From the news items about casting to the signing of Shawn "Jay-Z" Carter as music producer to the piecemeal publicity distributed via social media, there's an abundance of information. We know from Luhrmann's previous works (that's Romeo + Juliet, Moulin Rouge!) that when Baz does something, he does it big, so it's no surprise that the Gatsby website is lavish, extensive, flashy, and even a little burdensome for me and my bandwidth. It does, however, provide ample information to chronicle Luhrmann's creative process and the novel's four year journey to the screen.
I empathize with Luhrmann's desire to share his inspirations and efforts to validate his decisions. It's not always enough to share it with the cast and crew - he's proud of his work, and believes in it, and I have certainly been there. I warmed up to the casting of DiCaprio in the lead role, and indeed he delivers. Carey Mulligan is an especially effective Daisy Buchanan, in that she is likeable, pitiable, sympathetic - the Helen of Troy whose beauty and voice, "full of money," would launch a thousand ships. You know what, I also didn't dispise Tobey Maguire, whose performances usually bore me. Instead I found myself amused and able to relate to his experience.
This brings me to my next point. Baz Luhrmann and Craig Pearce structured their adaptation with flashback, beginning, interspersing, and ending with scenes of Nick Carraway in a sanitarium. Here, he converses with a doctor, whose treatment includes getting Nick to write out the story that burdens him so heavily. Before protesting, consider the source of the concept. Mike Hogan, for The Huffington Post writes:
It was Luhrmann's script assistant, Sam Bromell, who discovered the key to Nick's back story in a draft of Fitzgerald's unfinished novel, "The Last Tycoon." In that early version, the narrator, Cecilia Brady, told her story from inside a sanitarium.
The setting wouldn't have been unfamiliar to Fitzgerald, given Zelda's agonizing struggles with mental illness. "Fitzgerald and Zelda were not strangers to sanitariums," Luhrmann said. "Fitzgerald was not a stranger to being destroyed and decimated by alcoholism."
It makes so much sense. Imagine Nick as a less confident man - someone more likely to be swept up in Daisy's allure, Gatsby's enthusiasm, and overwhelmed by Tom's athleticism. Eager to please, less likely to ration his drinking, more likely to need the alcohol to loosen up and have a good time. A very introverted man, whose writing allows him to freely express his own opinions. I had rationalized and entirely embraced this new (to me) reading of the character - a man needing the respite offered by a sanitarium - prior to seeing the film. I only wish it had been matched on film. Maguire had the hair down, but I do wish his character edged a little more toward George McFly.
Not only did Nick seem far too put-together to have a drinking problem (his doctor's notes say he's morbidly alcoholic... we'll have to take his word for it), but I'm not sure I bought into George Wilson's breakdown. Oblivious, yes, but weak and devoted to his wife, I doubt it. Joel Edgerton's Tom Buchanan is a thing of beauty. Attractive, masculine, jealous, proud, and contentedly prejudiced. I also liked Elizabeth Debicki as Jordan Baker, even if the character had to be white-washed and simplified for the film. I found her amusing and genuine, her interest in Nick sweet.
Know what else was sweet? Everything about the scene in which Nick has Daisy over for tea. Nervous Gatsby is an adorable Gatsby, knocking over the clock is an understandable accident, and his attempt to fix it is terribly endearing. Though, once in a while, DiCaprio's Gatsby gets this concentrated look, and I can't help but realize what a sociopath he is. Perhaps I've been watching too much Criminal Minds, but the scrapbook he keeps about Daisy is a little creepy. On the flipside, the previous scene, the infamous 'shirts' scene, finally makes sense. It's about so much more than the luxury, it actually contributes to the relationship between Daisy and Jay. Yes, the added dialogue is unnecessary (it's Baz Luhrmann, unnecessary additions is his game, isn't it?), but the scene itself is gorgeous.
I've done my best to swallow some Rhode Island pride, but I did rather miss the Newport mansions. There is something to be said, however, for the garishness of Gatsby's sprawling, pointed house. As Tom so cruelly points out, Jay was not born to the upper class, he has achieved his place through criminal practices and bought his way in with new money. He doesn't have the learned taste for restraint, style, and sophistication - he only knows wealth, luxury, and excess. Like Daisy's wardrobe of delicate ballgowns, Jay Gatsby wears white and pink suits, crisp and clean, undisturbed by having to perform menial tasks. His only concern is to please Daisy - he's unaware of or at least unfettered by how absurd he actually looks. The vibrancy of the rest of the costumes - especially in the party scenes - is incredible. Costume/production designer Catherine Martin (also Luhrmann's wife), worked with Prada, Brooks Brothers, Tiffany & Co. to create the fashions throughout the film, which really are incredible.
Also impressive is the use of 3D. Having seen the film in both formats, I have to say that the 3D really does add to the experience - as long as your expectations are in line. Allow me to backtrack and elaborate. Luhrmann attributes his decision to film Gatsby in 3D to two other films, Dial M for Murder (1954) and of course, Avatar (2009). Audiences should realize that 3D is actually a rather old technology, used in Hitchcock's case to make the film feel more like a theatrical production than cinema. James Cameron's goal in Avatar was to establish the depth of field that would really support the story. Both of these ideas are evident in The Great Gatsby. 3D glasses have come a long way too, and aren't as cumbersome as I had anticpated they would be. There are no dizzying action sequences, no guns shooting at you, or cars whizzing by - but a tangible difference in the ability to be absorbed by the roaring twenties, Gatsby's decadent parties, and even to better perceive the body language and movement of more intimate scenes (I am thinking of the confrontation, in particular).
In this technological aspect, Luhrmann has succeeded. However, a film that spent over a year in postproduction limbo should have better ADR. ADR is Automated Dialog Recording. Most evident in the scene where Jay drives Nick to New York City, the looped dialog is quite obviously out of sync with the image. It's irritating, at the least. Officially, however, the push from a Christmas release to May 10th was to allow more time for Jay-Z's work. A latecomer to the production, all of Hollywood buzzed when Luhrmann chose Jay-Z to executive produce the music for the film. It was less of a surprise when one recalled the contemporary soundtrack for Romeo + Juliet, but unexpected all the same. For traditionalists, it may have been the wrong choice. If you ask me, I think it was a stroke of brilliance.
For several days (weeks?) prior to the film's release, the movie's Facebook page posted links to Soundcloud.com, Vulture.com, and NPR.org, slowly feeding song after song to its followers. I love it. From Florence + the Machine to Jack White to Lana Del Rey to Gotye to will.i.am, the whole thing is fiesty and new. In Baz Luhrmann's interactive Gatsby's Journal, Luhrmann writes that even the soundtrack is three-dimensional.
Now in 3D, when you take music, you almost have to think about it in 3D too, the layering of the music. There is one scene in the speakeasy, for example, where we go in a very short time from Jay-Z rapping over a contemporary track, "100 Dolla Bill," into a jazz version of that contemporary track, into a piece of score, back to the contemporary track, back into traditional jazz by the Brian Ferry Orchestra, and then end the scene with a new contemporary track that is jazz influenced.
There's no doubt that the hip hop, jazz-infused soundtrack is a jarring concept for conservative literarians, but when you think about how edgy and hip a Gatsby party is supposed to be, it makes complete sense. And you know what? It's fun.
So, no, it isn't perfect, but it's evocative and empassioned, and it's very much alive. It's also different enough from the novel that English teachers will be able to tell when a student didn't read the book. If you're afraid that Luhrmann's style is too over-the-top for the poetic brevity of Fitzgerald's novel, rest assured, this is Luhrmann restrained. He has his moments (we must indulge him a few, I suppose), but by and large it is an exquisite film. Consider this your personalized invitation to join the Gatsby party.
Notes and bonus links:
- Read the rest of Mike Hogan's article at THP.
- Try to reach the green light in this game from Slate.com.
- Sweet article on the soundtrack from NPR.
