Baz Luhrmann’s adaptation of the Great Gatsby is outwardly the purest expression of the jazz age spirit imaginable. It follows F. Scott Fitzgerald’s book closely throughout much of its duration, but it deviates from it at key moments. Ultimately, the new Gatsby fails to capture the book’s subtlety and message, but it provides an entertaining dramatic spectacle.
Much of the movie is dominated by dazzling parties held at Gatsby’s manor, which are arguably the scenes that the film portrays best. Thumping 21st century music (picked out by the executive producer, Jay Z) mixes with jazz to creatively interweave the youth-culture associations of modern pop with the period-appropriateness of jazz. Meanwhile, glitter, confetti and streamers rain down on a diverse menagerie of scantily clad flappers and their drunken escorts. These party scenes look both fun and headache-inducing, reflecting well the ambivalence that Fitzgerald had for the roaring twenties.
Another aspect of the film that works well is the excellent acting of the lead characters. Leo DiCaprio’s portrayal of Gatsby is both frank and enigmatic. His depiction of Gatsby’s infatuation with Daisy is excruciatingly obvious, and yet he keeps a convincing sense of mystery surrounding Gatsby’s past.
Carey Mulligan’s Daisy also merit’s mention. Mulligan captures Daisy’s inexplicable allure, as well as her frustrating naivete and narcissism. One can understand why men like Gatsby and Tom are in love with her, and also why Nick ends up being disgusted with her uncaring nature.
Tobey Maguire’s performance as Nick is a mixed bag. He reflects an interpretation of Carraway as wide-eyed, earnest, and naive, but he ignores the side of Nick that is cynical and reserved. Ultimately, he does a fairly good job, though I cannot help but think that someone else would have performed better.
The film’s biggest failings come from Luhrmann’s attempts to embellish or deviate from the story. He has Nick narrate the film from a mental hospital, relying heavily on eloquent passages from the book, and he even has the actual words appear on screen, as if hearing them wasn’t enough. This is a bold move, but it fails at whatever it was intended to do. It comes off as a cheap attempt to piggy-back off of Fitzgerald’s prose while also appeasing fans of the book.
**Spoilers Ahead**
Also problematic is the major plot deviation at the end of the film. While many deviations, such as the omission of Nick’s relationship with Jordan, are omitted with little consequence, the reinvention of Gatsby’s funeral is inexcusable. The film entirely removes Owl-eyes and Gatsby’s father from the funeral, leaving only Nick. It’s an interesting idea, but for such an important scene, it seems like an insult to Fitzgerald to violate his plot in such a major way.
Luhrmann’s Gatsby is certainly worth seeing, but it has enough flaws to prevent it from being a truly great film. Nonetheless, it provides an entertaining story that is well acted and enhanced by dazzling visuals.