Movie Review: "The Great Gatsby"

This isn't your grandfather's Gatsby.

Colorful costumes. Extravagant sets. Music video editing. A soundtrack featuring the best of the rap and rock genres working today. This is not a faithful adaptation of Fitzgerald's classic in terms of tone. But Baz Luhrmann has brought his signature style to one of the most beloved novels of all time, making for a film that will no doubt anger purists but will certainly entertain more open minded audience members. And while Luhrmann emphasizes the melodramatic side of the novel, there are subtle moments (well, subtle for a Baz Luhrmann film) that show he really does understand the meaning behind the novel.

In an odd way, The Great Gatsby feels like the film that Luhrmann has been working towards for his whole career. With Nick narrating the story from his typewriter, a la Christian in Moulin Rouge!, and a frantic opening that thrusts you right into the action, much like Romeo + Juliet, many elements from Luhrmann's previous films are plainly visible. That shouldn't be a surprise- Luhrmann is one of the most distinct directors working today. Love him or hate him, there is no denying he has a style that is unique, and his presence surges through the film. This far from a subtle movie, with the quieter scenes in the novel being brought to new dramatic heights and party scenes that are wildly over the top yet oddly symbolic of the devil may care attitude of the 1920s. The film is more interested in providing audiences eye candy to accompany their popcorn and soda rather than a four course meal of food for thoughts, which I'm sure will upset many but I have to ask- is that a bad thing?

The Great Gatsby has been adapted numerous times, and none of those films were ever met with a necessarily positive response. Even this film, while on track to be a box office success, has been saddled with mixed to negative reviews. And anybody who has read the novel can tell you that it's a tough book to adapt. It is rich with symbolism and thoughtful prose that is riveting to read but is more likely to bore audiences when filmed on the big screen. Many will claim that Luhrmann is slaughtering the American classic- that he is taking Fitzgerald's masterpiece and making it a film for the ADD/MTV generation to digest easily and without much analysis. But that is a lazy criticism. Yes, this version of The Great Gatsby is more over the top then I'm sure Fitzgerald ever intended it to be. But Luhrmann shows a deep understanding of the novel throughout the film.

While the film may not go as in depth as a high school English teacher would like, Luhrmann manages to show an understanding of the characters and uses some very theatrical devices to emphasize their crucial traits. Take, for example, the unique tone of voice many of the characters speak in. All of the actors have adopted a style of speaking reminiscent of those in classic films- something that only adds to the staged nature of the movie. But notice the way the characters speak. For Carey Mulligan (Daisy) and Joel Edgerton (Tom), actors that are playing "old money" characters, the voices feel natural. But Leonardo DiCaprio's voice feels odd, almost fake, and while I initially thought this was just a mistake he made as an actor, I quickly realized that this was a conscious decision made by the filmmakers. It makes sense that Gatsby's voice would sound fake, as Gatsby's status as a rich man is fake. And, whenever Gatsby's facade as a rich man begins to crumble away, DiCaprio's natural voice slips out. It's a brilliant decision for both the actors and filmmaker.

Then you have the characterization of Daisy. Luhrmann refuses to put the character into a box or make her a simple romantic lead, as a lesser director probably would. He doesn't shy away from Daisy's negative qualities- she's still shallow and manipulative. Her materialism is perfectly captured during a scene in which Gatsby showers her with the beautiful shirts he has acquired with his new money. It is the first time in the film where her affection for Gatsby really shines through. But Luhrmann also asks audiences to consider if Daisy is this way simply because of the times she lives in and the situation she finds herself in. A wonderful moment in the film finds Tom making a collar of sorts around Daisy's neck with a beautiful pearl necklace he gave her as a gift. It'd be too easy for a director to abandon the complexities in her character and make the film a by-the-numbers love story. Somebody who was going for a merely entertaining movie would probably take that route. Luhrmann did not, and I respect him for that.

The cast is also (almost) perfect. Leonardo DiCaprio was born to play the role of Gatsby. For one thing, Leo is the definition of a movie star, both in terms of social status and in terms of physical appearance. Yet, there is an oddly mysterious and tortured quality visible in many of his character's and performances, making him perfect for the role of this haunted millionaire. But, to my surprise, he is not the best actor in the film. That title belongs to Miss Carey Mulligan, who I was vehemently against upon hearing the announcement of her casting. I now feel obligated to apologize to her. She is absolutely brilliant in the movie, perfectly embodying Daisy and stealing every scene she's in. There is a certain elegance to her performance that would make her feel right at home with the biggest actresses of the golden age of film history, while the always present sadness in her eyes brings a dark reality to her seemingly perfect existence. For the longest time I was convinced that Mulligan would be the wrong choice for the part. But now I can't imagine anybody else in the role. Joel Edgerton, Isla Fischer and newcomer Elizabeth Debicki also do a wonderful job in their roles and are worthy of praise.

But their is a weak link in this cast of A-listers, and this link really damages the film as a whole. Tobey Maguire is just the wrong choice for the crucial role of Nick, a character who is responsible for sharing the story with audiences. Maguire is not the strongest actor to begin with, but he just feels sorely miscast in this part. He lacks chemistry with any of the actors, and his performance feels flat and passionless. But worst of all, his narration- much of which is taken directly from the pages of the novel- feels tacked on, mainly due to the lack of certainty Maguire brings to his character. Does Nick have feelings for Jordan? How does he feel about Tom? Is he depicting the story in a truthful manner? Does he admire Gatsby, or maybe even have romantic feelings for him (as many overzealous literary critics would like to believe)? I'm not sure, and I don't think Maguire does either. In any other part, Maguire's performance would be simply disappointing. But he's playing a crucial character in the story, and he drags the film down with his incompetent acting.

Luhrmann's fast paced style also comes to a screehing halt before reaching the final third of the story, with the film largely dragging before returning to a fast paced style as the story wraps itself up. But for the most part, Luhrmann's style really works in the film's favor. The party scenes, specifically towards the beginning of the movie, are wonderfully staged. The use of music complements the scenes perfectly, whether it be a rap by Jay-Z, a ballad by Lana Del Ray, or a jazz version of "Crazy in Love."The cinematography and art direction will, no doubt,  be remembered come Oscar season. And the best scene in the film, a confrontation between Gatsby and Tom in a hotel room on a hot day, is worth the price of admission alone for being an entertaining example of melodrama while also capturing the subtext behind the scene and exhibiting perfect acting from all involved. It's just a shame that the film really loses that sense of pacing for about ten to twenty minutes.

When The Great Gatsby vacated its Christmas release date, many felt the film would prove to be a disaster. But the move now makes perfect sense. The Great Gatsby is not Oscar fare- it's a summer movie, replacing action scenes with wild parties and superheroes with a mysterious rich man. Luhrmann's interpretation of the classic is melodramatic, but in the most entertaining way possible, and while the meaning behind the text is downplayed, it is hardly forgotten. The movie is not perfect and I doubt I'll be remembering it as I construct my Top 10 list at the end of the year, but I wouldn't be surprised if this movie proves to be the most fun I'll have at the theater this summer.

OVERALL GRADE: B+