The film begins in a style not so far removed from Luhrmann's previous cinematic extravaganzas. The retrospective story-telling by the narrator Nick Carraway, who pins the roots of his depression on events that occurred during his time in 1920's New York, was vaguely reminiscent of Ewan McGregor's opening scene in Moulin Rouge. The typeface overlay onscreen as Nick writes his memoirs instantly lead me to draw parallels between the two films, which both use flashback to introduce young, bewildered male characters into intimidating new worlds of excess. Hyperactive camera work is Luhrmann's trademark, and he shows no signs of slowing down in The Great Gatsby. Rapid camera zooms are used ad nauseum, and those unfamiliar with his distinctive cinematography may be left feeling disorientated, dizzy, and probably a bit like they've just disembarked from a rollercoaster at Thorpe Park.
The first thirty minutes is a blur of decadence served with a liberal helping of sequins and pyrotechnics. The music, provided by the world's most illustrious marital powerhouse; Beyonce and Jay-Z, adds beautifully to the lavish party scenes. I'm sure many older viewers (including my gran) were not so dazzled by the contemporary soundtrack, and I can appreciate that for some it may have detracted from the authenticity of the story. That said, I felt that it added an exciting element of modernity whist in-keeping with the jazz undertones of 1920's America. The slow, almost haunting, rendition of Crazy in Love was a welcome addition, and personally I don't see how using current artists to renew the appeal of a literary classic to a younger audience can be construed in a negative light.
Aside from the somewhat avant garde music and flashy cinematography, however, the film holds its own due to the spot-on casting. After the first portion of the film focuses on creating an intriguing sense of enigma surrounding Gatsby, the introduction of Leonardo DiCaprio as the man himself satisfies the mysterious role. Leonardo captures the intangibility of Gatsby whilst bringing his usual charm and flawless delivery to the screen. Despite his veracious performance, however, I couldn't help but feel that, at times, his celebrity somehow detracts from the sensitivity of his acting. As in his other recent films, it sometimes feels like you're watching 'Leonardo playing a character' rather than the character himself. This is only a small gripe though, as for the majority of the viewing I found myself fully immersed in the fictional world of Gatsby.
Carey Mulligan as Daisy is accurate in her portrayal of a fickle and careless woman of the upper-class elite, oblivious and indifferent to the repercussions of her selfish actions. Her husband Tom, played by Joel Edgerton, is convincing in his representation of a profligate and stupidly wealthy member of the social elite. The entire cast seems to portray the excess and ridiculousness of the morally bankrupt upper class well, helped of course by beautiful costumes and incredible staging. However, at times the perfection seems almost too overwhelming and borderlines on ludicrous. The simultaneous opening of the patio doors by several anonymous servants is choreographed immaculately, but touches like this, of which there are many, felt so contrived as to take away from the serious issues at heart. Then again, this is Baz Luhrmann. The Marmite of the director world, you will either love his eccentricity or loathe it for its self-assured boldness.
Whilst there is no doubt that the extreme hedonism and debauchery is portrayed with vigour, I felt that it is glamourised just a bit too much. It is important to remember that the story is intended to be a satire of the reckless frivolity displayed by the upper echelons of American society in the twenties, and therefore Luhrmann's portrayal can be seen to endorse the very issue it intends to critique. Nevertheless, this adds to the excitement of the film, and creates a visual festival of decadence. Many viewers, I'm sure, will have been disappointed by its superficiality, but I found the balance was created by poignant scenes, such as the moment in which Nick looks down upon Gatsby's coffin. Scenes such as this allow for reflection and provide an opportunity to assess the bizarre spectacle you have just witnessed.
Overall, I found the film thoroughly enjoyable. Although aspects of it are inaccessible for those who are not fans of Luhrmann's signature style, it unquestionably provides a visual delight for those in need of some escapism. The cast are brilliant in their roles, and they bring to life the apathy and shallowness of the upper class. Whilst die-hard fans of the novel may be disappointed by its modern twist, I highly recommend it for those in pursuit of unadulterated entertainment. Enjoy it on surface level as a hopeless love story, or delve deeper into the undercurrent of criticism. Either way, stick with it until the end and don't be mislead by the static opening, and you will be rewarded.
