Many people struggle with separating the literary elements of a book from its film representation (I do myself, especially with the Harry Potter films). With a literary piece as famous as The Great Gatsby, that can be difficult. Despite countless critiques, Fitzgerald's novel has acted as an inside to the Roaring 20's, a standing cultural icon, and a necessity for high school English classes around the world.
With all of that said, I really came to enjoy Luhrmann's reinterpretation of Gatsby. He never strays far from the intimate details of the novel, and he takes direct quotes from the book in many scenes of the film. What makes this adaptation of the book different from the 1974 film is Luhrmann's over-the-top and extravagant aesthetic, bending Fitzgerald's themes into colorful and theatrical celebrations. There was never a moment in the film where the artistic elements got in the way of the story's central plot and various themes/motifs. In fact, it gave an even clearer picture into the era of the Roaring 20's. In each party scene, booze flows like water; flappers do the Charleston; and infatuation and love become much more synonymous than the two would in any other circumstance.Fitzgerald created a broad distinction between classes in his novel. There was a clear separation between the new money on the Eastern side and the old money on the Western side. The film recognized this difference between old money and new money through dialogue. Gatsby declares, out loud, that he had to make money to win Daisy back. However, one would never see the class differences in this film if it had not been noted verbally. Luhrmann uses his colorful designs on every character, including Myrtle Wilson (Isla Fisher), the lower-class lover of Tom Buchanan (Joel Edgerton).
The character of Jay Gatsby, played by Leonardo DiCaprio in this interpretation, is an iconic one. In my humble opinion, DiCaprio was a star in his performance. He was charismatic, handsome, and had the perfect balance between confidence and diffidence all at once. All of these attributes were shown in my favorite scene of the film: the reunion of Gatsby and Daisy.
Daisy (Carey Mulligan) stands by herself in Nick's living room, playfully touching the arranged flowers Gatsby has acquired for her. After momentarily freaking out and running out of the house and into the rain, Gatsby returns, soaked from head to foot. His face is one of controlled panic, yet, he smoothes down his hair, straightens his suit jacket, and steps into the room to meet Daisy for the first time in five years.
The scene is silent, with the exception of a light, instrumental version of Lana Del Rey's "Young and Beautiful" playing in the background. Gatsby steps onscreen, and we cut to Daisy, who turns sharply at his entrance. The two stare at each other, and we crosscut between them both, reading their expressions as the camera gets closer and closer with each shot. Daisy looks as if she has seen a ghost, and she meekly moves towards Gatsby, her eyes wide and mouth slightly open. Gatsby merely stands there, taking deep breaths and looking down at the floor every so often. He is holding onto his cane for dear life, but even in this moment, he looks like the very image of a strong war veteran. Finally, after seconds of silence, he manages a nod and a tight smile. With this, Daisy seems to remember herself and manages to get out, "I'm certainly glad to see you again," with the perfect amount of familiarity and restraint that exists between these two characters. Gatsby opens his mouth and breathily responds with, "I'm certainly glad to see you as well." This scene alone tells the viewers a lot about Daisy and Gatsby's relationship, without very much dialogue. The mood, established by the director's use of music and aesthetic elements, along with the actors' performances, creates the perfect reunion between two long-lost lovers.
Nick Carraway (Tobey Maguire) took on the romantic narrator that resonates as strongly through the film as he did in the novel. Through Nick's lens, we see Gatsby as the perfect millionaire, war hero, lover, etc. We see Daisy as the "golden girl", the spunky cousin of Nick's that could make any man fall in love with her. Throughout the film, Nick's lens become more and more blurred, and viewers see that these images of Gatsby and Daisy are idealized, and both are far from perfect.
Underneath the 3-D images, hip-hop music, and theatrical shows, Baz Luhrmann lays down a layer of artistic sentimentality that is not afraid to plunge into melodrama. In crucial moments of the plot, Luhrmann dims down the theatrics and allows the emotional center of the film to stand alone. These are the scenes of the movie that feel the most authentic and that will be remembered by the majority of viewers.
