O Grande Gatsby

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.

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.

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.

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's funny how time seems to change attitudes towards many works of art, including the 1974 film treatment of Fitzgerald's novel "The Great Gatsby." At the time of its release the movie received some of the most scathingly negative reviews I can recall for any film. The reviews were no doubt a response to the enormous publicity that preceded the movie's release with promotion people at Paramount working overtime in promoting the movie as the finest film achievement since ""Gone With The Wind". Compared to the type of promotion that goes on today, this movie's promotion machine pales, but at the time it was quite a unique approach to marketing a movie. The film was on the cover of every imaginable magazine, including the very first issue of People magazine, and primed for failure from the start from all those in Hollywood who love to build something up only to revel in it being destroyed.

None of this back story had anything to do with the actual movie itself.

I recall seeing the movie on the first weekend of its opening and being utterly enchanted by the performances, costumes and ambiance of the production. I saw the movie a second time a few weeks later, only to be disturbed by the cuts that were made to the film, no doubt as a result of that critical backlash. A number of scenes were shortened with one whole character, the Owl Man, played by Tom Ewell completely edited out of the film. These cuts became permanent, with the film today showing the evidence of the cuts by occasional abrupt traditions. I have never seen any version of the film that had these cuts restored.

Now, 36 years after it's release, the movie has undergone the type of reassessment that only time can provide with it being appreciated for the lovely film that it is. With the movie certainly on it's way to Blu-Ray, it's the right time to see these cuts restored to the film so that people can finally see the ENTIRE film as it was initially intended and not the film formed by the hostile criticism it received.