The Great Gatsby

2013, 12, Directed by Baz Luhrmann
Starring: Leonardo Di Caprio, Tobey Maguire, Carey Mulligan, Joel Edgerton

Originally slated for a Christmas release, cinema-enthusiasts and literary lovers alike have been tantalised by the idea of Baz Luhrmann’s big-screen translation of F. Scott Fitzgerald’s ‘Great American Novel’ The Great Gatsby for a few months more. With no aim for awards success and concern consequently arisen, the purists began to doubt the man who brought Shakespeare’s Romeo + Juliet and Moulin Rouge! to life in only the way Baz could - perhaps intensified by his unique use of 3D and a soundtrack filled with several Jay-Z collaborations. We’re set in the 1920s, remember.

It is down to Tobey Maguire to assume the role of our narrative guide Nick Carraway, a Long Island-lounging stockbroker, cousin to the delectably-desired Daisy (Carey Mulligan). Together with Daisy’s husband, Tom Buchanan (Joel Edgerton, on brutish form), and our titular next door neighbour is 'old sport' Nick immersed into the luscious lifestyle of how the other half live, and the knowledge of a past life attempted to be relived.

Leonardo DiCaprio continues his journey as perhaps the finest actor of our generation, if not one of. Portraying Jay Gatsby’s mysteriously cryptic, but strangely alluring presence in the finely-tuned way that he does not only impresses (once again), but stays true to Fitzgerald’s character description. Maguire, for all his wide-eyed innocence, impresses more than ever as Carraway, whilst Mulligan deals the film its dull note. It can’t be taken away that she looks the part, but perhaps Daisy Buchanan is a character best encountered on the page.

Much can be said for the film’s final stretch; as an exploration of Gatsby, the film soars. When Luhrmann hands things over to the narrative, removing much of the flair dealt to us from the offset – right through to the oddly downbeat ending – is when things helplessly fall flat. It’s like enjoying an all-night party with the host calling things off at around 2am.

Perhaps upon retrospect, The Great Gatsby merely delivers in the way people can expect a Baz Luhrmann film to deliver; a lovingly-crafted cine-visual treat (it’ll shock you how loyal an adaptation this remains; in parts, Fitzgerald's words literally grace the screen). It’s a shame that the novel’s representation of hope is left under the mound. But with bundles of bravura, a damn cool soundtrack many will scramble to download and a story for the ages that jumps from the pages, it’s safe to say The Great Gatsby succeeds.

The 20s are like they’ve never been, leaving no stone unturned in pleasing the aesthetically-charged eye. Scenery, costumes, décor, zoom shots – you’re thrusted a fistful of elements to gorge your eyes on before the 15-minute mark has been hit. And that’s before any of the party scenes. As dazzling as you’d expect, everything contained within the screen oozes decadence, even if the doses move from dazzling to desperate in the space of a few scenes.

Still, when Leo raises that glass, half-smiling at the camera with fireworks erupting around him, it’s hard to deny that Gatsby has moments of greatness.

3.5/5