by Steve Habrat
It has been nearly five long years since we heard from the flamboyant Australian director Baz Luhrmann, the man behind such eye-popping spectacles like the contemporary kids-with-guns retelling of William Shakespeare’s Romero + Juliet, the gonzo jukebox musical Moulin Rogue!, and the historical romance Australia. Well, folks, Mr. Luhrmann has returned to a theater near you in grand fashion with the 3D epic The Great Gatsby, a heavily anticipated big budget sugar rush that is based on the classic 1925 novel by F. Scott Fitzgerald. Hype around The Great Gatsby has been building since last fall, when the shimmering and sparkling trailers crashed into theaters and promised a Christmas release for the Leonardo DiCaprio period piece. At the last second, Warner Bros. pulled the plug on the Christmas release date and pushed the film back to summer 2013 and honestly, the summer movie season is a much better fit for this slick and hip adaptation. With absolutely nothing held back, Luhrmann gives The Great Gatsby a hip-hop makeover, showers it in confetti, fires off a seemingly never-ending amount of fireworks behind it, hands it a Four Loko, and then tosses it to an audience of teenagers raised on MTV, Jay-Z, and smartphones. The result is a gyrating eye-candy romance that will absolutely appall your English teacher and have your girlfriend swooning. It is style over substance every single step of the way, allowing it to feel right at home in a sea of fizzy summer blockbusters.
The Great Gatsby tells the story of Yale graduate Nick Carraway (played by Toby Maguire), an aspiring stockbroker and writer who rents a home in West Egg, Long Island, during the summer of 1922. After settling in to his new home, Nick reconnects with his wealthy and beautiful cousin Daisy (played by Carey Mulligan) and her cigar-chomping husband Tom (played by Joel Edgerton), who attended Yale with Nick. Daisy and Tom quickly begin trying to set Nick up with vampy party-girl golfer Jordan Baker (played by Elizabeth Debicki), who seems to only show minor interest in Nick. Life seems to be going great for the young and naïve Nick, but he finds himself strangely drawn to his wealthy next-door neighbor Jay Gatsby (played by Leonardo DiCaprio), an enigmatic recluse who throws massive parties for the New York City elite yet remains unseen by his drunken guests. One day, Nick receives a personal invitation to one of Gatsby’s wild blowouts, something that is highly unusual for Mr. Gatsby. While wandering through the party, Nick comes face to face with Gatsby and the two form a fast friendship. As the two men bond, Gatsby reveals to Nick that he is in love with Daisy, who he met five years earlier and shared a brief but intense romance. Nick agrees to aid Gatsby in reconnecting with Daisy but in the process, he begins to uncover all the mystery that surrounds Jay Gatsby.
For the first hour of The Great Gatsby, Luhrmann brings new meaning to the phrase “go big or go home.” He zooms between the East and West Egg like a ten-year-old boy who had way too many Snickers candy bars and Pepsi. When he gets bored doing this, he sends his camera flying into a rapidly growing New York City, dancing from skyscraper to skyscraper while Maguire looks up, down, and all around in astonishment. Then there are the party scenes, which are sure to get your heads bobbing and feet tapping. A non-stop stream of confetti is spit out at the audience while hundreds of extras shimmy, shake, and stumble to blaring hip-hop provided by Jay-Z and Kanye West. It is all shown to you in glorious 3D, which will have you fighting the urge to leap from your seat and join the fun. Somewhere in between the spraying champagne and fireworks, there are a few attempts to develop these characters that we are supposed to be invested in, but Luhrmann seems way too wrapped up in throwing the party of the year to pay much attention to them. When it finally winds down, he decides to get serious in extended montages of Gatsby, Nick, and Daisy loosing themselves in an endless summer of high price indulgence. It’s visually intoxicating and it certainly looks romantic, but it is also incredibly exhausting.
While the visuals will have you drooling, don’t forget to stop and admire the fine performances from the powerhouse cast. The style threatens to overshadow each and every one of them but they certainly hold their own when facing a mountain of CGI. DiCaprio owns the picture the second he emerges from the glittery shadows and early on, he hams it up in skinny pink suits that looks like they were provided by Gucci. His Gatsby is almost a caricature of the 1920s gentleman; grinning while referring to nearly every single person he meets as “old sport.” You could make a drinking game out of how many times he says “old sport,” although I doubt many people would be still standing by the end. As far as his burning passion is concerned, there certainly is fire in those eyes for Daisy. He attempts to impress her by dazzling her with wealth and promises of doing everything in the world together. When he needs to be tragic, he can certainly switch it on, especially in the last act of the movie. You never doubt that DiCaprio is thrilled to be reunited with his Romero + Juliet director and it is clear he is putting in 110%. A job well done, Mr. DiCaprio!
Then there is Mr. Maguire, who narrates through a raspy and fatigued tone that sounds like he was up all night chugging a bottle of whiskey with Gatsby (Someone grab him an Advil!). He is good with the role he is given but he never holds our attention like DiCaprio does. He simply sits on the sidelines, making observations about all the wild party animals around him. Mulligan is a breathy sunbeam as Daisy, who is caught between two warring millionaires pulling her in two separate directions. Mulligan is naturally talented, but her character never receives the development that it truly deserves which is an absolute waste. Edgerton gives DiCaprio a run for his money as the scowling Tom, who is constantly chomping down on a fat stogie and chasing every pretty girl he lays eyes on. He shares a war of words and wealth with DiCaprio in one of the film’s most intense sequences. Debicki is slinky and sexy as the gossiping golfer Jordan, who loves a big party because they are more intimate than a smaller gathering. Also keep an eye out for small but sharp appearances from Jason Clarke as gas station attendant George Wilson, who becomes a ball of fury in the last act of the film, and Ilsa Fisher as his unfaith sexpot wife, Myrtle, who jets off with Tom to seedy hotel rooms in New York City.
The real problem with Luhrmann’s adaptation of The Great Gatsby is that it is all about panache. There is obsessive detail in the sets, the CGI is mindblowing, and the musical playlist will have audience members rushing home to purchase the soundtrack off iTunes, but this compromises substance. Sure, the idea of love lost and love found again is enticing but it just becomes a whiskey-fueled game of tug of war that conveniently ends with tragedy. To make it worse, it feels tacked on with a heavy sigh from the filmmakers, who clearly would rather be hanging out with scantily clad flappers lip-synching to Beyoncé. But, what else would you expect from someone like Luhrmann? Overall, it may be the nightmare of English teachers everywhere and it definitely rings hollow, but The Great Gatsby is a giddy parade of excess led by a cast and crew clearly having the time of their lives, all while Warner Bros. flits the bill. You’ll certainly get your money’s worth of visuals, but you won’t be moved in the slightest.