The Great Gatsby

The Great Gatsby

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The aggrieved husband of the dead woman, imagining that Gatsby is the culprit, shoots him while he is lounging in his pool the next day, and Tom and Daisy retreat into the impregnable sanctuary of their vast wealth, while Nick Carraway, the narrator, returns to the midwest, repelled and disillusioned by what he's witnessed. Nick, the innocent bystander, is in fact integral to the story, not just as the witness and the moral conscience of the book. Since the novel was published, there have been at least five English-language film adaptations, an operatic interpretation and numerous stage adaptations.

The Road to West Egg

None has been terribly successful with the exception of Gatz , for the simple reason that Gatz presents the book in its entirety — every single word over eight hours. Without Fitzgerald's poetry, without the editorial consciousness of Fitzgerald's narrator Nick Carraway, the story can seem threadbare and melodramatic. Telling the story from Carraway's point of view was the key to the delicate balancing act Fitzgerald performed in narrating his improbable love story. Nick is an outside observer who becomes emotionally involved in the story he is telling. Drunkenly taking in the proceedings at a party in a New York City apartment, Nick observes: "Yet high over the city our line of yellow windows must have contributed their share of human secrecy to the casual watcher in the darkening streets, and I was with him, too, looking up and wondering.

Jay McInerney: why Gatsby is so great

I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life. Gatsby without Nick's voice, without his presiding consciousness, is like Bob Dylan's lyrics without music. Interesting, yes, but poetry? I don't think so. Fitzgerald's Gatsby is a very fragile creation, made of words and dreams. Fitzgerald tells us almost nothing of his appearance, and while this may seem like a fault in the book — one of which the author himself was aware — the actor who chooses to embody this famous cipher takes on a daunting task, further complicated by the fact that Gatsby's dialogue is the most wooden and formulaic language in the book, presenting a striking contrast to the rich, aphoristic style of Nick Carraway's narration.

The prose surrounding Jay Gatsby is so good it allows us to share Nick's vision of his largeness of soul and the heroism of his quest, to celebrate "the colossal vitality of his illusion". The enduring appeal of Fitzgerald's third novel, as with many great novels, is partly dependent on a benign misinterpretation on the part of readers, a surrender to fascination with wealth and glamour, and the riotous frivolity of the jazz age. Fitzgerald was by no means an uncritical observer, as some have suggested; the most villainous of these characters are the wealthiest, and Nick Carraway is something of a middle-class prig, who, much as he tries to reserve judgment, is ultimately sickened by all the profligacy and the empty social rituals of his summer among the wealthy of Long Island.

And yet Fitzgerald had a kind of double agent's consciousness about the tinsel of the jazz age, and about the privileged world of inherited wealth; he couldn't help stopping to admire and glamorise the glittering interiors of which his midwestern heart ultimately disapproved. Gatsby's lavish weekly summer parties are over the top, ridiculous, peopled with drunks and poseurs, and yet we can't help feeling a sense of loss when he suddenly shuts them down after it's clear that Daisy — for whom the whole show was arranged in the first place — doesn't quite approve.

We shouldn't approve either, and yet in memory they seem like parties to which we wish we'd been invited. In Gatsby and his best fiction, Fitzgerald manages to strike a balance between his attraction and repulsion, between his sympathy and his judgment. As a middle-class, midwestern Irish Catholic from what Edmund Wilson called "a semi-excluded background" vis-a-vis the Ivy League and the world of eastern privilege, he seems capable of double vision, the appearance of viewing character, from inside and outside.

Gus Murray as Teddy Barton. John O'Connell as Newton Orchid.

Corey Blake Owers as Louisville Officer. Tasman Palazzi as Young James Gatz. Milan Pulvermacher as Waiter-Hotel Sayre. Brenton Prince as Guard at Gatsby's Gates.

Alfred Quinten as Party Guest. Ghadir Rajab as Footman. Kieran VanBunnik as Rowdie. Eden Falk as Mr. Sylvana Vandertouw as European Woman.

Speakeasies flourished when Prohibition failed.

Jan 3, Full Review…. Jun 12, Full Review…. May 15, Full Review…. Aug 13, Full Review…. Jul 30, Full Review…. Jun 8, Rating: 3. Apr 9, Full Review…. Mar 19, Full Review…. View All Critic Reviews Feb 28, I really enjoyed the visual aspect of this movie.

The acting was also very good. Erin C Super Reviewer.

Nov 16, I was thoroughly unimpressed in more ways than one with Baz Lurhmann's take on one of the nation's greatest novels, The Great Gatsby. Considering Lurhmann has had moderate success with Moulin Rouge! While the movie sticks to the source material for the most part, I didn't need the narration from Tobey Maguire the entire time like I was actually reading the book. First, I have never been completely sold on Maguire.

I don't think he's a bad actor, but he didn't give any characterization to Nick Carraway. The same goes for most of the actors in this film, including DiCaprio. Nobody's performance deserves any special attention because it felt so cookie-cutter that you might have thought the actors were only showing emotion because of the punctuation on the script they were reading. I know this was a few years ago, but Leo was coming off some of his best movies, and then this interrupted one of the better strings of successful movies for him.

8 Ways 'The Great Gatsby' Captures the Roaring Twenties - HISTORY

Carey Mulligan is always a delight on screen, but other than crying, sobbing or appearing confused, there wasn't much else for her to do. Nothing came together for me while I was watching. Scenes cut in and out of flashbacks. Editing was abysmal. Continuity between scenes was a joke. What was the deal with trying to fuse current music into a movie based in the s? None of it felt right. It was pretty much watching an audio book on screen with all the narration we were drug through and when we finally had a chance to watch what was happening on screen without listening to someone tell us about it, the scenes were filled with awkward pauses and stilted dialogue.

Even though Luhrmann stayed faithful to the material, never at any point did I believe it was on par with the magic I read back in high school from Fitzgerald. Lane Z Super Reviewer. Jul 09, Baz Luhrman's signature style works wonderfully with the source material, capturing the eclectic energy of Fitzgerald's masterpiece without sacrificing the tender emotion and depth of character that made the book so wonderful. Isaac H Super Reviewer. May 25, From an insane asylum wait, what? Baz Luhrmann's lavish style, quick cuts, garish colors, and modern screaming, drum-heavy music attempt to capture the roar of the Roaring Twenties.

On Dvd & Streaming

It's a valiant attempt, and I like when it succeeds and don't get too angry when the style rudely overtakes the story. It's mostly faithful to the source material except for a few glaring dissimilarities that make me wonder if the filmmakers simply felt the need to stamp the story with their spin. Leonardo DiCaprio is good as Gatsby, capturing the lavishness of his excess and the vulnerability of relationship with Daisy, and Tobey Maguire is fine as literature's most famous witness; although, Maguire isn't allowed to express the appropriate moral outrage at the end of the film.

Likewise, the script doesn't give enough to Carey Mulligan to expose Daisy's depth. Overall, it's a fair attempt, but Luhrmann's luridness is often misplaced. Jim H Super Reviewer. See all Audience reviews. Jay Gatsby: I knew that when I kissed this girl I would be forever wed to her.

So I stopped.

I stopped and I waited.

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