Baz Luhrmann's adaptation of the Fitzgerald classic follows the novel verbatim -- the script is practically copied and pasted from the book, which is a smart move considering the number of people who love quoting Daisy Buchanan's "Well, I'm certainly glad to see you here," and Gatsby's "You all right, old sport?" However, he packages the film in a different manner, and in the first few minutes we see the narrator Nick Carraway talking to a psychiatrist, articulating the first two pages of The Great Gatsby.
Now, if I were in an art gallery and The Great Gatsby was a painting, Baz Luhrmann would be the patron of that day's show and he would be talking about The Great Gatsby, but I, new to the paintings, would be unconvinced. He would only come off as a dilettante. That is the film, in a nutshell.
The film had its glorious moments, times when I marveled at the accurate replay of the twenties' surfeit of glamour and wondered if the producers actually came up with a budget in the first place. Each scene is an explosion of noise and color; nothing went overlooked in the production. The lines were delivered with perfect enunciation. Basically, everything is and has everything.
And that is the problem.
Now, if I were in an art gallery and The Great Gatsby was a painting, Baz Luhrmann would be the patron of that day's show and he would be talking about The Great Gatsby, but I, new to the paintings, would be unconvinced. He would only come off as a dilettante. That is the film, in a nutshell.
The film had its glorious moments, times when I marveled at the accurate replay of the twenties' surfeit of glamour and wondered if the producers actually came up with a budget in the first place. Each scene is an explosion of noise and color; nothing went overlooked in the production. The lines were delivered with perfect enunciation. Basically, everything is and has everything.
And that is the problem.
