Gatsby le magnifique

This lavish Hollywood treatment of the Classic F. Scott Fitzgerald novel is a visual and acoustic delight. Nelson Riddle's spellbinding score and the many brilliant camera shots capturing the splendor of an age of excesses and indulgences make for engaging entertainment. Still, the dark story will leave the viewer numb at the eventual (bitter) end. A young Mia Farrow and Robert Redford in the leads, along with excellent performances by Scott Wilson and Bruce Dern, as well as the 70s "femme fatal" staple Karen Black round out the top, with what seems to be hundreds of colorful "flapper" and servant extras in the cast. Everyone fortunate enough to be born or married or mistressed into money is living the "life", not caring about anyone and anything other than fun, fun, fun.

A series of indiscretions (by just about everyone) culminates in the "just desserts", and several deaths. The fact that life of the high and mighty seems to go on without skipping a beat, regardless of anyone's recklessness or involvement, is the tough lesson the author seems to aim for. Without conscience, what have we? All the money will not replace human emotions, though the cash seems to easily take their place. But didn't we have fun....

It seems something of a shame how maligned the extravagant 1974 movie version of F. Scott Fitzgerald's literary masterwork was when it was originally released. So much media hype surrounded the production, including a Scarlett O'Hara-level search for the right actress to play Daisy Buchanan, that it was bound to disappoint, and it did critically and financially. It's simply not that bad. Interestingly, looking at the film over thirty years later, I am taken by how faithful the movie is to the original book both in text and period atmosphere. The central problem, however, is that Jack Clayton's overly deliberate direction and Francis Ford Coppola's literate screenplay are really too faithful to the book to the point where the spirit of Fitzgerald's story becomes flattened and plot developments are paced too slowly. The result is an evocative but overlong 144-minute epic movie based on a novel that is really quite intimate in scope.

The focus of the plot is still the interrupted love story between Jay Gatsby and his object of desire, Daisy. Narrating the events is Nick Carraway, Gatsby's modest Long Island neighbor who becomes his most trusted confidante. Nick is responsible for reuniting the lovers who both have come to different points in their lives five years after their aborted romance. Now a solitary figure in his luxurious mansion, Gatsby is a newly wealthy man who accumulated his fortunes through dubious means. Daisy, on the other hand, has always led a life of privilege and could not let love stand in the way of her comfortable existence. She married Tom Buchanan for that sole purpose. With Gatsby's ambition spurred by his love for Daisy, he rekindles his romance with Daisy, as Tom carries on carelessly with Myrtle Wilson, an auto mechanic's grasping wife. Nick himself gets caught up in the jet set trappings and has a relationship with Jordan Baker, a young golf pro. The characters head for a collision, figuratively and literally, that exposes the hypocrisy of the rich, the falsity of a love undeserving and the transience of individuals on this earth.

Casting is crucial, and surprisingly, most of the actors fulfill the characters well. Robert Redford, at the height of his box office appeal, plays Gatsby with the right enigmatic quality. As Daisy, Mia Farrow captures the romanticism and shallowness of a character that ultimately does not deserve the love she receives. Even if she appears overly breathy and pretentious, her frequently trying performance still fits Fitzgerald's image of the character. Bruce Dern makes an appropriately despicable Tom Buchanan, while Karen Black has scant screen time as the trashy Myrtle. A very young Sam Waterson makes the ideal Nick with his genuine manner and touching naiveté, and Lois Chiles is all throaty posturing as Jordan. As expected, all the exterior touches are luxuriant and feel period-authentic - Theoni V. Aldredge's costumes, John Box's production design, Douglas Slocombe's elegant cinematography, and the pervasive use of 1920's hits, in particular, Irving Berlin's wistful "What'll I Do?" as the recurring love theme. The film is worth a look if you have not seen it and a second one if you haven't seen it in a while. It's actually better if you've already read the book. The 2003 DVD has a nice print transfer but sadly no extras.

A Midwesterner (Sam Waterston) becomes fascinated with his nouveau riche neighbor (Robert Redford), who obsesses over his lost love (Mia Farrow).

What we have here is a big name cast, though not as stylish as Baz Luhrmann's version forty years later. Luhrmann does seem to follow the same plot and use much of the same dialogue, suggesting at the least both enjoyed certain lines from the novel, or perhaps even that Luhrmann used this film as his cue. A few scenes, such as the clothes-tossing, seemed to be a direct borrowing. Also, Redford says "old sport" more naturally than Leonardo DiCaprio.

I have seen some criticism for this film being too literal. So, is being literal good or bad? I imagine if they strayed from the novel there would be just as many critics (or more) complaining... you just cannot win when adapting classic literature (though I personally loved this).

A great use of Karen Black. All I need to say.

The original script allegedly had homosexual undertones, and I think that comes through here. Also, when thinking of this as a tale from an unreliable narrator, it is interesting to wonder what is strictly true and what is puffed up from Nick's obsessive and doting point of view.

Nowadays, at least from mentions I've seen, 1974's The Great Gatsby is somehow considered a classic. I benefit from having been alive back then and sitting through it in the theater - twice.

When my friend returned from Poland, he wanted to see it. So I went again, reluctantly. When he heard Mia Farrow's shrill voice call "Ni-ick," he said, "0h my God." That about sums it up.

When the character of Nick Carraway, played by Sam Waterston, steals the show, you've got a problem. He was wonderful.

While the film was very pretty to look at, with cinematography by Douglas Slocombe, The Great Gatsby was not a very good movie. It is slow, plodding, and miscast, with none of the lyricism of Fitzgerald's prose present.

Redford is a reserved, passionless Gatsby, and has no chemistry with the whiny Farrow. According to a book I read on the filming, director Jack Clayton chose Farrow because he liked the way she held a glass of champagne. And there we are.

There's no angst, just some pretty scenes, and in the end, one wonders if this is perhaps a book that doesn't adapt well.

So much for hoping for a special edition DVD of this undervalued movie. Not even a trailer! But at least the movie has never looked better, and the original music soundtrack has been fully restored, so I'm not about to complain any further. Ever since its release this film has been battered with wildly vicious criticisms. Maybe that can be better reserved for the genuinely numbing and off key 2001 TV version, which makes this version look better than ever. This version, to me, improves with every viewing--it's peculiar rhythms and deliberately sedate pace does work very well, creating a mood not easily comparable to other movies. Then too, look at director Jack Clayton's movie, THE INNOCENTS (1960), which shares a bit of this studied approach. I'm glad this Gatsby version wasn't reduced to a quick and vulgarized romp; instead Clayton took a more intellectual tone, very nicely counterpointed with a superb array of period music. The crowning touch, Irving Berlin's "What'll I Do," is a match made in heaven, both the song and the novel having appeared within a year of each other in 1925. As for the DVD, it now highlights to maximum effect the evocative, first rate cinematography and art direction (what were those other commentators thinking--were they watching a duped VHS?), etc. Too bad a 30th anniversary edition couldn't have happened in 2004, but I'm more than pleased this has been given its chance on DVD. I agree that the novel's literary aspects defies easy transformation into a movie, but we are more than fortunate that this 1974 film version is as haunting and quietly moving an experience that it is.