The Great Gatsby is a famous novel by F. Scott Fitzgerald is a new addition to Baz Luhrmann’s movies. Starring Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Isla Fisher, Jason Clarke and Joel Edgerton, The Great Gatsby takes us to a new journey of love, obsession and tragedy. This new movie premiered in theaters last May 10th 2013. Check out the movie review for The Great Gatsby below:
“The Adaptation of Fitzgerald’s The Great Gatsby
But first, before the glowing review, a little movie history. When The Great Gatsby last ventured onto the large screen, in 1974 with a woefully miscast Robert Redford and Mia Farrow squeaking in a voice like loose change, the adaptation laid an Egg as big as East and West combined. In fact, the film was so bad that it immediately raised two possible questions about the Scott Fitzgerald classic: (1) Was it not really a classic after all and didn’t deserve its iconic rep?; or (2) Was the novel just too intrinsically literary and delicate to survive any transplant from its rightful home on the page?
Cut to the present when, in the lead-up to director Baz Luhrmann’s much-hyped foray into the field, a spate of keen revisionists, sacred-cow-tippers all, have emerged to answer the first question with a resounding yes, denouncing the book (often with more eagerness than proof) as overwritten, oversymbolic and vastly overrated. Which brings us, finally, to Luhrmann’s film and to a delicious irony: 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. How?
For starters, Luhrmann and his co-screenwriter Craig Pearce are astute enough to know thatGatsby is much less an exercise in realism than a lyrical tone poem. In its style and its theme, artifice lies at the very heart of the book, and the director celebrated for his Red Curtain Trilogy (Strictly Ballroom, Romeo and Juliet,Moulin Rouge) is no slouch at artifice. So right from the initial travelling shot, through an art-deco frame to that green light at the dock’s flickering end, the movie is unabashedly stylized and theatrical. His use of the 3-D camera, common now in action blockbusters but still rare in a drama, reinforces the artful point while also underscoring the script’s first surprise, and its only significant departure from the source material.
Prepare to see an aged Nick Carraway (Tobey Maguire) in a remote sanitarium, diagnosed as a depressed alcoholic (yes, Fitzgerald’s own fate). There, as winter rages outside an encircling window, the 3-D effects seem to have him ensconced within a giant snow globe, setting down on paper his account of that faraway summer in the Roaring Twenties. Of course, in the novel and here too, Nick is our narrator, prone to his occasionally purple rhetoric. But that imposed conceit, the image of a talented depressive writing from inside the bauble of his imagination, seems to validate his inflated prose and, better yet, lets us re-appreciate its inherent poetry.”
You can continue reading Rick Groen’s movie review at Mail and Globe.
Check out this week’s list of “Drama” films right in this blog.