over-mannered in style, but effective and incisive

Rating: 8/10 (19 May 2013)

Luhrmann's Great Gatsby is first of all brightly-coloured imagery and powerful audio-solicitation, excessive and over-mannered, as to get, sometimes, grotesque, but certainly appealing, mainly while depicting the extravagance of sumptuous parties. But this is the spirit of the roaring twenties, vibrating with intoxicating energy, and the style employed is well matched with the sparkling vitality of those times (and, by the way, you cannot expect sobriety in a work by a director like him).
So, splendor of the scenery, awesome costumes and jewels, marvelous cakes and sparkling champagne abound and appeal the viewer since from the very beginning of the picture. Not to mention the irreverent use of music, with shocking covers and an hazardous contamination between hip pop and traditional jazz. The picture, however, is not only explosive energy and affected mannerism, on the contrary it pulses with emotion in dialogues and situations, and here the novel upon which it is based emerges clearly.
Of course, if you compare the movie with Fitzgerald's work, you realize that some depth is missing, especially that sense of decay and despair typical of those same shimmering years. However, it is always difficult, sometimes impossible, to transpose complex literary works, especially those where the evocative power of the written word proves superior to the necessary directness of the visual image. But the screenplay and the use of camera help emphasise the inner anxiety of Gatsby and the mysterious nature of Nick, supported by the talented performances of the actors (Di Caprio is great as usual, and more handsome than ever), who interact very well with the female performances. To sum up, the final product proves effective and incisive, and the long timerun never bores, on the contrary the picture keeps its quick pace and brilliant touch till the end.