The first sound film of the Fitzgerald novel was released in 1949. Despite the fact that it starred box-office giant, Alan Ladd, and was filmed on a comparatively modest budget, this version was actually lucky to break even – unlike the 1974 re-make which actually lost a whole packet of money. (Admittedly it was lensed on a far more extravagant scale).
Both films suffer from almost identical flaws. Both tend towards being dull, tedious and even uninteresting, although in the 1974 version, you can often (but not always) allow your eye to wander over the magnificent sets. Both Ladd and Robert Redford are none too convincing, although Redford has wisely elected to play the role in an enigmatic rather than in his usual pushy manner. The Ladd version is further burdened with a stolid performance from Macdonald Carey and hysterical over-acting from Betty Field. True, Barry Sullivan as Tom, Howard Da Sylva as Wilson and Shelley Winters as his wife, do give their roles some bite, but their commendable efforts are somewhat undermined by the movie's odd construction of flashbacks within flashbacks (which often don't return to the flashback they started with).
At least Francis Ford Coppola's wordy screenplay for the 1974 film does eliminate all the flashbacks. However, to do this he has been forced to make Sam Waterston, rather than Gatsby or Daisy, the central figure. Waterston not only narrates but appears in virtually every scene – and he gives an agreeably restrained performance as the naïve Fitzgerald character, especially considering the vapid script he's forced to work with. On the other hand, Redford, who makes a surprisingly late entrance, does virtually nothing at all. He plays the character with little charisma and in such a stolidly dead-pan, offhanded way that I assumed his constant use of the expression, "old sport", was deliberately designed to mock or annoy his guests. Alan Ladd handled this "old sport" dialogue – and the character as well – with far more aplomb. Mia Farrow, on the other hand, seems to be trying to out-do Betty Field in the wide-eyed neurosis department. Obviously striving to play Zelda Fitzgerald as a simpering, far-gone neurotic, Mia turns the character into a caricature rather than a believable or anyway sympathetic heroine. As in the previous version, the Wilsons (here played by Scott Wilson and Karen Black) come off best. (Howard Da Silva who was so impressive as Wilson in the Ladd version has a small, insignificant role in the remake as Meyer Wolfsheim).
Despite the super-abundance of flattering close-ups, neither Farrow (all wide-eyed, simpering neurosis, as said above) nor Redford (who manages to turn the expression, "old sport", into an insult, rather than play it in a bantering fashion as Ladd did – and as Fitzgerald intended) come across effectively. Even the support players seem outclassed by the Alan Ladd line-up. The main reason for watching the Redford-Farrow Great Gatsby is to marvel at its extravagances of sets and costumes and revel in the heady array of 1920's classics like "What'll I Do?" and "Sweet Sixteen".
Despite all the frenetic partying, the occasionally effective action sequences and the big-budget locations and sets, the shorter, trimmer, Alan Ladd version has something more of the right Scott Fitzgerald atmosphere, and even provides a welcome build-up to Gatsby's career which is only hinted at in the far more opulent 1974 re-make.
Both films suffer from almost identical flaws. Both tend towards being dull, tedious and even uninteresting, although in the 1974 version, you can often (but not always) allow your eye to wander over the magnificent sets. Both Ladd and Robert Redford are none too convincing, although Redford has wisely elected to play the role in an enigmatic rather than in his usual pushy manner. The Ladd version is further burdened with a stolid performance from Macdonald Carey and hysterical over-acting from Betty Field. True, Barry Sullivan as Tom, Howard Da Sylva as Wilson and Shelley Winters as his wife, do give their roles some bite, but their commendable efforts are somewhat undermined by the movie's odd construction of flashbacks within flashbacks (which often don't return to the flashback they started with).
At least Francis Ford Coppola's wordy screenplay for the 1974 film does eliminate all the flashbacks. However, to do this he has been forced to make Sam Waterston, rather than Gatsby or Daisy, the central figure. Waterston not only narrates but appears in virtually every scene – and he gives an agreeably restrained performance as the naïve Fitzgerald character, especially considering the vapid script he's forced to work with. On the other hand, Redford, who makes a surprisingly late entrance, does virtually nothing at all. He plays the character with little charisma and in such a stolidly dead-pan, offhanded way that I assumed his constant use of the expression, "old sport", was deliberately designed to mock or annoy his guests. Alan Ladd handled this "old sport" dialogue – and the character as well – with far more aplomb. Mia Farrow, on the other hand, seems to be trying to out-do Betty Field in the wide-eyed neurosis department. Obviously striving to play Zelda Fitzgerald as a simpering, far-gone neurotic, Mia turns the character into a caricature rather than a believable or anyway sympathetic heroine. As in the previous version, the Wilsons (here played by Scott Wilson and Karen Black) come off best. (Howard Da Silva who was so impressive as Wilson in the Ladd version has a small, insignificant role in the remake as Meyer Wolfsheim).
Despite the super-abundance of flattering close-ups, neither Farrow (all wide-eyed, simpering neurosis, as said above) nor Redford (who manages to turn the expression, "old sport", into an insult, rather than play it in a bantering fashion as Ladd did – and as Fitzgerald intended) come across effectively. Even the support players seem outclassed by the Alan Ladd line-up. The main reason for watching the Redford-Farrow Great Gatsby is to marvel at its extravagances of sets and costumes and revel in the heady array of 1920's classics like "What'll I Do?" and "Sweet Sixteen".
Despite all the frenetic partying, the occasionally effective action sequences and the big-budget locations and sets, the shorter, trimmer, Alan Ladd version has something more of the right Scott Fitzgerald atmosphere, and even provides a welcome build-up to Gatsby's career which is only hinted at in the far more opulent 1974 re-make.