by eabaker » Thu Sep 26, 2013 3:39 pm
Jenn and I inflicted Baz Luhrmann's adaptation of The Great Gatsby upon ourselves last night (only strong liquor helped us through it, and at times in our drunken mockery we rather felt like Nick Carraway ourselves - at least, going by the way we interpret the character in the book).
There are, of course, assorted schools of thought on how much one should compare a movie adaptation to its source material when judging its quality. In this case, I feel like the ways in which it deviated from the novel also happen to result in its being a bad movie, but it would be every bit as bad without making the comparison. This is because narratively it follows the book very closely - pretty much all the right events occur, and in the right order, but the tone - both in visual approach and in the bulk of the performances - is so egregiously wrong as to render the narrative functionally meaningless. A brilliant, sly, snarky commentary on American culture has been rendered as merely a gaudy melodrama. Almost any time we ought to be laughing with the movie, we are instead lauging at its po-faced intensity.
What is most frustrating is that that there are a few moments where it gets things so right. DiCaprio genuinely seems to understand the character of Gatsby, and in their moments together - and almost exclusively in those moments - Maguire is a magnificent embodiment of Nick. The rest of the time, even when the casting is right - Elizabeth Debicki is a good but annoyingly under-used Jordan, and Joel Edgerton is an entirely reasonable choice for Tom - the actors are generally being directed to give entirely the wrong performances, and whatever they do get right is criminally undercut by the style of the movie.
Tokyo, a smoldering memorial to the unknown, an unknown which at this very moment still prevails and could at any time lash out with its terrible destruction anywhere else in the world.