Gatsby le magnifique

This adaptation may have worked with the mute button on, but the cheezy movie-of-the-week score, the shrill cries of Mia Farrow, and the pallid reading by Robert Redford doom this film. Bruce Dern as Tom Buchanan makes as much sense as Jimmie 'J.J.' Walker as Muhammad Ali - the physical strength that defined Tom is totally missing.

The staging, costumes, and incidentals (cars, etc.) are gorgeous, but the beauty of Fitzgerald's prose is nowhere to be found. This must be a difficult work to film, and it shows.

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.

After weighing in on the Boards about this terrific film, it's about time I posted a review, since I do have it on my Top-20 list! I love period-pieces, especially those set in the era of, say, 1918-1938. Hence, 'Eight Men Out', 'Great Gatsby', and 'Sting' are in my Top-20, and, of course, Redford appears in two of those. Redford had the required screen presence, and acting talent to play Gatsby. Those who criticize the film or Redford's interpretation are, to me, just over-analyzing or too caught up in comparisons with the fabulous novel by F. Scott. In addition to superb acting from Redford and a great ensemble cast, the costumes, music and fabulous sets/photography give this flick plenty to recommend.

I have read the book a few times -- I view it as a great American tragedy. But tragedies about larger-than-life characters are not so easy to reproduce on-screen. Anyway, maybe half the viewers haven't read the book; so, for a screenplay writer, it's a dilemma. Maybe *this* particular tragic role - a man who builds fabulous wealth in just a few years, a man who suddenly can compete with the N.Y. aristocracy in attracting the rich and famous to his parties, a man who does it all to reclaim the rich 'jewel' he lost in his youth, a man who gambles it all on one shake of the dice - is, like King Lear, almost too surreal to be performed. Think of it that way, and watch Redford again. He is brilliant. And if you want to see the role messed up, watch A&E's 2004 version. Thirty years to try to improve? And they produce an interpretation of Gatsby I call the 'grinning idiot'.

I've never heard Redford comment on the mixed opinions about his Gatsby portrayal, but I'll guess he knows he got it right, and there wasn't anyone else with the required taste and style to outfit this role. (And as Michael Caine so deftly expressed it in 'Dirty Rotten Scoundrels', "Taste and style are commodities that people desire.."). You'd be hard-pressed to name a current American actor with the same charisma (so, you go to the U.K. and get Jude Law or Ralph Fiennes, right?).

I'll touch on the comment of one frustrated IMDb reviewer who wondered why they changed how Nick meets Gatsby. In the movie, Gatsby's compact but sinister bodyguard (who has just decked a guy the size of a Buick) quietly leads Nick upstairs to Gatsby's private study. As soon as Redford appears, we know - and Nick knows - that it's Gatsby. In the book, Nick is having a conversation at a table with an amiable fellow who turns out to be Gatsby! Can you imagine filming a scene with a character chatting with Redford and - surprise - it turns out to be Gatsby? (A&E tried it that way in 2004 - note my 'grinning idiot' comment above). Furthermore, this reference to Gatsby's protective layer helps us to identify his tragic blunder later on: he fires his household help for the sake of privacy once his romance with Daisy blooms. That decision is costly.

The book was described somewhere as a 'story in perfect balance'. In practice, that includes characters that are neither too villainous nor too heroic -- neither too loose (morally) nor too prudish. Our eyes and ears for the story, Nick, probably does not whole-heartedly approve of Tom's fling with Myrtle, but he's not about to blow the whistle on him either. He observes, and goes along for the fun with a crowd that clearly is more prosperous than he is. Later, he has good reason to assist in brokering the romance between Daisy and Gatsby (Nick has a growing friendship with Gatsby - and he is no big fan of Tom). At the same time, he finds Gatsby's affectations a bit annoying - and he only pays him one compliment (at the end - remember? "they're a rotten crowd - you're worth more than the whole lot of them put together").

Anyway, once again, portraying all this on screen is no easy matter. So, relax and enjoy the show, a sparkling period-piece that relates to us a tragic tale about the folly of wealth. Meantime, I will try to track down the 1949 version with Alan Ladd, to see how *they* did! 9/10 - canuckteach (--:

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....

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.