Watching this film requires a few concessions.
First, you must imagine the elegantly beautiful 1974 classic version does not exist. Trust me. It's painful otherwise, and I will avoid any reference or comparison for that reason. Second, you must also imagine that, notwithstanding Fitzgerald's masterpiece, the setting is not the Roaring Twenties but, rather, some over amped time warp netherworld where Jay-Z and Beyonce' get to be avant garde again because they're rather incongruously and anachronistically foisted on a film in which they really have no place.
If you make it that far, you're almost ready to watch The Great Gatsby 2013. Now brace yourself for Baz Lurhrmann's jarring postmodern deconstructivism that was thrilling a decade ago in Moulin Rouge, but has become by now almost as grotesque as Julie Taymor's murderous affront to Beatle music – Across the Universe.
Thus prepared, you can now enjoy what is undeniably an entertaining, if uninspiring, film.
Tobey Maquire, of whom I am usually a fan, is somewhat flaccid as Nick Carroway, despite the fact that the story depends utterly upon him to drive it forward. He does, however, bring a decidedly literary dimension to the film by framing the main story within his own attempt at recovery. Joel Edgerton is a perfectly delightful Tom Buchanan. He embodies all the machismo brutishness with which Fitzgerald envisioned the character. He also has enough personal charisma to help anchor the otherwise riotous staging. And, of course, there is DiCaprio as Gatsby. I didn't hate him, although I was predisposed to, but I wanted to love this movie, and Leo was one of the main reasons I couldn't.
As far as casting, however, the jewel of this film is the deliriously sensuous and beautiful Carey Mulligan as Daisy Buchanan. She makes it easy to believe that Daisy broke hearts with just a smile back in Louisville and inspired Gatsby to bring the world to her dock for her sake.
This film mines Fitzgerald's novel for more complex themes than predecessors have explored. Sometimes it works, and sometimes it doesn't. Ironically, it also strips all the novel's major themes of any subtlety whatsoever and reduces them to stage settings for an unrelenting onslaught of elaborate music videos.
But if I reel in my disappointment for a moment, I can only conclude that this is a well-made movie that is seductively entertaining and visually magnificent. Maybe it isn't fair to expect more.
First, you must imagine the elegantly beautiful 1974 classic version does not exist. Trust me. It's painful otherwise, and I will avoid any reference or comparison for that reason. Second, you must also imagine that, notwithstanding Fitzgerald's masterpiece, the setting is not the Roaring Twenties but, rather, some over amped time warp netherworld where Jay-Z and Beyonce' get to be avant garde again because they're rather incongruously and anachronistically foisted on a film in which they really have no place.
If you make it that far, you're almost ready to watch The Great Gatsby 2013. Now brace yourself for Baz Lurhrmann's jarring postmodern deconstructivism that was thrilling a decade ago in Moulin Rouge, but has become by now almost as grotesque as Julie Taymor's murderous affront to Beatle music – Across the Universe.
Thus prepared, you can now enjoy what is undeniably an entertaining, if uninspiring, film.
Tobey Maquire, of whom I am usually a fan, is somewhat flaccid as Nick Carroway, despite the fact that the story depends utterly upon him to drive it forward. He does, however, bring a decidedly literary dimension to the film by framing the main story within his own attempt at recovery. Joel Edgerton is a perfectly delightful Tom Buchanan. He embodies all the machismo brutishness with which Fitzgerald envisioned the character. He also has enough personal charisma to help anchor the otherwise riotous staging. And, of course, there is DiCaprio as Gatsby. I didn't hate him, although I was predisposed to, but I wanted to love this movie, and Leo was one of the main reasons I couldn't.
As far as casting, however, the jewel of this film is the deliriously sensuous and beautiful Carey Mulligan as Daisy Buchanan. She makes it easy to believe that Daisy broke hearts with just a smile back in Louisville and inspired Gatsby to bring the world to her dock for her sake.
This film mines Fitzgerald's novel for more complex themes than predecessors have explored. Sometimes it works, and sometimes it doesn't. Ironically, it also strips all the novel's major themes of any subtlety whatsoever and reduces them to stage settings for an unrelenting onslaught of elaborate music videos.
But if I reel in my disappointment for a moment, I can only conclude that this is a well-made movie that is seductively entertaining and visually magnificent. Maybe it isn't fair to expect more.