THE GREAT GATSBY

Australia/US, 2013, 140 minutes, Colour.
Leonardo di Caprio, Tobey Maguire, Cary Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Elizabeth Debicki, Jack Thompson.
Directed by Baz Luhrman.

Baz Luhrman has said that F. Scott Fitzgerald’s novel did not receive good reviews when it was published. Nevertheless, it was popular, was quickly adapted for the stage and then filmed, a silent version which has been lost. Baz Luhrman’s version of what is now called the great American novel has not received good reviews either, many of them complaining that he has not filmed the book as they know and like it, losing its sublety, and indulging in the flashy flamboyance that is Luhrman’s trademark. They tend to be reviewing Luhrman rather than the film. And, after all, it is not the novel, but an interpretation.
There have also been three other versions of The Great Gatsby, one in 1949 (in black and white) with Alan Ladd, another in 1974 with Robert Redford, and a television version in 2000 with Toby Stephens (giving it a limited world audience). Which means that there has not been a version in cinemas since 1974, the year that Leonardo di Caprio was born – and he filmed the current version when he was the same age as Robert Redford was for his.

Which means that this is a version for the 21st century. It is bigger and brighter. It is more forthright about relationships, betrayals, and sexuality than the previous versions. It has a brighter soundtrack and was filmed in 3D.

Baz Luhrman keeps close to Fitzgerald’s plot about the mysteriously rich man who has bought a Long Island mansion in 1922, throws lavish parties even though he himself is not always visible. The gliteratti of the time rush uninvited and swamp the wild goings on. But, behind the scenes is a rather simple, even naïve, plot where a man wants to meet his lost love and arranges opportunities so that he can win her back.
The plot is told from the point of view of broker, Nick Carraway, who rented a cottage next to Gatsby’s mansion, is a cousin of Daisy Buchanan, Gatsby’s love, and went to college with Tom Buchanan, Daisy’s husband. The film opens with Nick in an institution where he recounts his memories to his doctor who urges him to write it all down. Nick admires Gatsby, inviting us to do the same, even though Gatsby has more than a shady past, which he lies about, amplifying his reputation - and a more than questionable present. Some critics think that Luhrman has made him too much of a romantic hero, and there is a point in that comment.

The trouble is that Fitzgerald did not have much time (at least in theory) for this rich and self-indulgent crowd, and Nick certainly makes some condemnatory comments about them at the end. The other trouble is that Daisy may have been a sweet young woman when Gatsby, in the army, first met her. But, in truth, she is shallow, selfish and ultimately, quite fickle. Gatsby loves her but over-idealises her. Buchanan is something of a rotter and has an affair with the wife of the local garage operator and throws sex parties at the apartment he has set up for his lover. The situation builds up to a confrontation between

Buchanan and Gatsby and a motor accident which leads to more manipulation and tragedy.

There is also that mesmerising billboard near the garage, the eyes staring out at all that is going on.

So, small and rather ordinary scenario given multi-million dollar treatment to bring to the screen a lavish era in America.
The cast is wide-ranging with many Australian actors in supporting roles. Jack Thompson is the doctor, Isla Fisher and Jason Clarke are the Wilsons at the garage, Elizabeth Debicki is Daisy’s friend, Jordan. There are glimpses of Barry Otto, Vince Colossimo and other Australian character actors. The production was done in Australia, relying on effects work as well as the costumes and design by Luhrman’s wife, Catherine Martin.

But, for the American novel, the stars are American – well, Cary Mulligan, Daisy, is British. Leonardo di Caprio has been a strong and intense performer for over twenty years, since he was a teenager. He creates an effective Gatsby. Toby Maguire (and his voice) are something of an acquired taste, but he fits the role of Nick Carraway very well. But it is Joel Edgerton who gives a striking performance as Tom Buchanan, a selfish and angry man, who won’t let go of what he possesses.

As with Baz Luhrman’s films, you surrender to them and get carried along, or you resist them and spend the time cataloguing what you think is wrong with them. It’s a choice.

1. The impact of the film? Reviews favourable and unfavourable? The status of the novel? F. Scott Fitzgerald?

2. The various film versions and their style?

3. Baz Luhrman, his career? Flamboyance? Visual style? Collaboration with Catherine Martin, production and costumes?

4. Long island, 1922, locations, mansions, the water, looking across the water? The film made in Australia?

5. Long Island, the mansions, the roads? New York and building, construction, development? The billboard, the eyes? The garage, Wall Street? A sense of place?

6. The costumes, men’s, women’s, affluence? The contrast with the Wilsons and the garage?

7. Production and décor, Gatsby’s, the Buchanan’s, the grounds, the roads?

8. The musical score, the range of songs, the soundtrack, the 21st century and 20th century music?

9. The cast, the American leads, Australian character actors? India, the world’s most popular star and his character?

10. Fidelity to the spirit of the novel, Fitzgerald’s language, images for the language, to accord with the language? The audience listening to the dialogue? Using its imagination to go behind the images and the spoken word?

11. The structure of the film: Nick Caraway and his memoir, writing his novel? In the institution, alcoholic, his work with the doctor, therapy, the urge to remember? His admiration for Gatsby, idolising him? His picture of American Society, the flapper generation, his being caught up? His work and Wall Street and seeing him at the exchange? The world of parties? Sexual behaviour? Glamour? With Tom at the university, Daisy’s cousin? Meeting with Jordan? The interactions with this group? The shock at the relationship between Tom and Myrtle? Participating in the party, waking up? Dissipation? His reaction to Myrtle’s death and the group’s behaviour? Contacting Daisy about the funeral, despising her for not coming? The audience identifying with him? His character, perspective? As a character of the partying twenties, his participation in the American dream, the American nightmare? His disillusionment?

12. The audience introduce two Gatsby’s world via Nick? Renting the house, Gatsby as an enigma? Glimpsing him the window? Going to visit the Buchanan’s, Tom and his bluster, Daisy demure? The opulent house, the servants, Long Island life, Jordan and her success at golf, her attitudes? Daisy becoming alert to Gatsby, Nick and the ride, the Wilsons, Myrtle, the girls at the party, sex, drinking, pills, waking up?

13. Nick’s invitation to the party, the enormous crowd, arriving in cars, no invitations? His comments about his invitation? Gazing at the party, his embarrassment in discovering Gatsby? Jordan saying Gatsby was asking a favour?

14. The parties, the staging of the party, costumes, dance, songs, music, Let’s Misbehave? Ainit misbehavin’? Tom, roving eye and his behaviour?

15. The favour, Gatsby and his screen presence, as a character? The range of stories about him, spy, in the war, telling someone? Gossip? His friendship with Nick, confiding in him? Taking him to New York, the reckless driving, taking him to the barbers, its being a club, India and his presence, mistaking the identity, talking? His background, gangster? Gatsby and the phone calls, prohibition, the liquor? His phone calls and the servant coming to him, his criminal connections? Headlines and the mystery of his money? The thugs coming to his party? Tom arriving at the club, his surprise?

16. Gatsby’s story, coming from the farm, poverty, his real name? His leaving home, his work, with Captain Dan, sailing, saving him, ‘old sport’? His not inheriting Captain Dan’s money, greedy relatives? Going to Oxford for a short time, adopting the manner, his return? Poor, the military, meeting Daisy, the affair in Louisville, his hopes? The war sequences? His return, aiming to get money and propose to Daisy?

17. Gatsby and Daisy, love, infatuation, in Louisville, his going away and her not waiting, marrying Tom Buchanan, their own mansion? Arranging life, love, appearances and reality? Being worthy of Gatsby’s devotion?

18. The afternoon tea, the preparation, the lawn and the flowers, overdone, bringing the cakes? The rain? Gatsby being nervous, the clock? The meeting, the talking, re-kindling the love? The scenes of their talking and the audience not hearing what they said?

19. Gatsby’s hopes, taking Daisy away, telling Tom? Daisy unwilling to commit herself, feeling confused? Wanting security? The drive, the two cars, the speed? Tom getting petrol at Wilson’s? Myrtle and the window, desperation? In town, the tension, discussions, drinking, Tom and his anger, Gatsby losing control in the confrontation?

20. Driving back, the characters in each car, Gatsby’s car and the speed, Myrtle running out, her death? Wilson and his reaction?

21. The character of Myrtle, married to Wilson, slatternly behaviour, the parties, the relationship with Tom, depending on him, the tension when he was in the garage, doomed? Wilson, the difficulties with the garage, his own health, suspicions of Myrtle, threatening her? The impact of her death, grief? Talking with Tom, Tom fostering his suspicion of Gatsby? His coming to the house, his gun, shooting Gatsby, shooting himself?

22. The return, Nick discovering that Daisy was driving, the flashback, Gatsby covering for her? Gatsby and Nick discussing, asking Daisy to ring, Gatsby by himself, Nick going home, going to work, in Wall Street? Gatsby at the pool, the phone call, Nick hearing everything?

23. Gatsby, his hopes for Daisy, the irony of her not ringing, his waiting, his shock at being shot, disbelief? The end of his American dream?

24. The funeral, Daisy not coming, the phone calls, leaving a message, Tom and Daisy and their departure? Nick and his condemnation of their attitude?
Finishing his book and adding ‘the great’?

25. F. Scott Fitzgerald and his disillusionment with this generation? Its self-centeredness, callow and callous?