Puttin' on the Glitz

Rating: Null/10 (11 May 2013)

The film is not recommended.
The latest adaptation of F. Scott Fitzgerald's great American novel has again transitioned to the silver screen. (There have been 5 previous films, none of which were successful at the box office or achieved critical raves.) Now, the "enfant terrible" of cinematic excess, Baz Luhrmann, has taken a crack at it, turning the romantic drama into a melodramatic concoction of flappers and booze with a stylish 3-D approach added to his usual opulent visual imagery. The result is like an expensive vodka martini, extra dry, and with enough garnishing to shock Mrs. Astor's pet horse. It easy to liken Baz Luhrmann's The Great Gatsby to an uninvited drunken party guest that you hoped would have left hours ago. It outstays its own visit.
Yes, this party goes on far too long, with too many impeccably tailored bystanders in their fancy duds and inebriated guests hanging out just for show. Do the filmmakers capture the circus atmosphere of the twenties and its bacchanalian orgy of carefree decadence? Absolutely. The film looks perfect, but it's all facade. The glitter, and there are tons of it, fades, leaving a rather tame tale in its wake. Do they create compelling dialog, believable characters, and an interesting story? Sorry, old sport!
￼For those unaware of the story: It's the Roaring Twenties and everyone wants The American Dream. Nick Carraway (Toby Maguire), cousin to the lovely Daisy Buchanan (Carey Mulligan), befriends his rich and mysterious neighbor, Jay Gatsby (Leonardo DiCaprio) and gets involved with his hedonistic lifestyle. Gatsby, who has been secretly in love with Daisy for some time, uses Nick's friendship to rekindle this romance. Unfortunately, Daisy is married to a brutish husband, Tom (Joel Edgerton), who is having a affair with a waitress on the other side of the tracks named Myrtle (Isla Fisher). All of these soap opera relationships collide with tragic consequences.
Now the underlying power of Fitzgerald's masterwork is in its prose, not in its plot. And the script by Craig Pearce and Luhrmann rarely reaches that level, or any level, of artistry. The film plays like a Cliff Notes version of the novel, relying too heavily on narrative voice-overs and overstated visuals that work on the page but not on the screen. The characters are so one-dimensional and lacking in any nuance. The actors, try as they may, are all constantly upstaged by their opulent surroundings and stilted conversations.
￼DiCaprio is perfectly suited for the role of Gatsby, literally speaking. With his boyish good looks and charming personality, he wears the period costumes well and has enough charisma for his enigmatic character. DiCaprio displays the correct measure of ambiguity and desperation with his portrayal of Gatsby. However Mulligan as his romantic partner lacks the allure and frailty needed to make her character remotely likable. The pairing just doesn't work. Maguire as Nick plays his part with his usual innocent demeanor as he has in past performances, which still works here. The other actors fail to bring any nuance to their sketchy roles, with the exception of Elizabeth Debicki in her short role as Jordan Baker. Edgerton makes his repellent character villainous to the point of caricature as well as Ms. Fisher' as his floozy mistress. However she would be an ideal choice to play Miss Adelaine in a summer stock production of Guys and Dolls.
￼As with most of the director's films, production values are flawless. One can see the big budget lavishness in every detail. Costumes and production design by Catherine Martin, Baz talented spouse, is truly stunning. Simon Duggan's vertigo inducing cinematography, though far from subtle, successfully captures the atmosphere and the opulence that was the Jazz Age. The hyperactive editing by Jason Ballantine, Jonathan Redmond, and Matt Villa helps to liven the film's prodding dialog. It is a feast for the eyes.
As for the ears...Much has been said about Luhrmann anachronistic use of music, combining today's pop and hip-hop musicians to create new songs for this period piece. (The director used this same approach with his earlier hit, Moulin Rouge, with mixed results.) The same can be said here too. Too often, he overstates his scenes with a soundtrack that telegraphs its message long before its actions.
Just as the character of Nick Carraway, Fitzgerald's alter ego in the novel, always appears to be observing the proceedings from the outside looking in. So was I watching this film. Luhrmann's The Great Gatsby never connected to me emotionally. It becomes so overindulgent, like the era it tries to depict. Ultimately, the film is as phony and glib as Gatsby himself. It left me wanted more and wanting less simultaneously, a strange contradiction to a strange and ultimately unsatisfying film. Sorry, old sport! GRADE: C+
ANY COMMENTS: Please contact me at: jadepietro@rcn.com
NOTE: The 3-D effects truly energize Luhrmann's vision. The director continually plays with foreground and middle ground dynamics which gives the film a unique and slightly artificial theatrical edge which works well with the spectacle. Now, if only the script could provided some of that same passionate spirit.