The Great Gatsby

Ok, some of these people giving comments about this movie obviously never paid attention to the 1974 version. For one thing, this adaptation is actually interesting. The 1974 version was totally boring, mostly because the actors/actresses showed no enthusiasm at all. And I believe this version is just as close if not closer to the book as the 1974 version. This new adaptation is much more enjoyable than the old.

Stick with the Redford/Farrow version if you want to see a good movie. Sorvino looked lost the whole time and her portrayal of Daisy made me wonder if she'd ever read the book. However, Toby Stephens made an excellent Gatsby and did a bang-up American accent, but he alone couldn't save this movie.

I have taught Great Gatsby for many years, and always been disappointed in the film (and lately opera) dramatizations. The plot of the novel is rather sordid and simplistic when deprived of Fitzgerald's presence as narrator (through the character Nick). The vital essence of the novel is the author's mastery of phraseology and vocabulary, which, since they are not directly part of the plot, but comment on the plot, are not easily translated into dramatic form, despite efforts in past versions to utilize some of the author's dialogue. This new adaptation is exceptionally faithful to the text. The finest feature is that the adapter has chosen to use Nick as an over-voice, (as in the novel), so that much of Fitzgerald's gorgeous language has been preserved. The flashbacks are handled so as to blend naturally into the action, and not much is added to the original except some transitional dialogue. The performances are above average, especially the three women leads, but all are good (though Gatsby need not have smiled quite so much).

This is the most faithful film version of Scott F. Fitzgerald's famous novel. However, I feel other versions, although not necessarily as true to the book, have captured the elusive character of Jay Gatsby more successfully.

Told through the Eyes of Nick Carraway (Paul Rudd) the film follows the book fairly closely with less rearranging of the material than the Ladd, Redford or DiCaprio versions.

Obsession is a tricky quality to treat sympathetically on the screen. But that is exactly what Jay Gatsby displays in his pursuit of Daisy: the love he lost and thinks he has found again.

Toby Stephens as Gatsby just seems too squared away to be harbouring a 5-year obsession, which he will go to any lengths to satisfy including openly stealing another man's wife. He carries off the self-made man to a point, but he doesn't project that almost indefinable, enigmatic quality that is the key to Gatsby's character. He and Paul Rudd also project a similar style - the different look of Leo DiCaprio as Gatsby and Toby Maguire as Nick was a better counterpoint in Baz Lurhmann's 2013 film.

The other three sound versions had a major star in the role. Where you would think a lesser-known actor could inhabit the role more comfortably without reference to his star quality, the opposite seems to be true. Both Alan Ladd and Leo DiCaprio delivered a complex, enigmatic Gatsby.

Only Robert Redford's star power may have worked against him. His persona also seemed too solid and sensible to let his emotions totally take over his life. However, charisma was no problem for Redford.

Although Gatsby is an enigma - Daisy is also a mystery. Whereas Fitzgerald had words to describe her, an actress playing Daisy must project what it is that Gatsby sees in her. Daisy is attractive, but fundamentally weak and simply wants to run when confronted with the traumas in her life. Nick Carraway sees right through her.

I think Cary Mulligan in Baz Lurhmann's film caught those qualities, as did Betty Field opposite Alan Ladd, Mia Farrow gave her a neurotic edge, while Mira Sorvino plays it low-key here, masking Daisy's indecision - it's a thoughtful performance.

The production of this movie is adequate for the story, and it is probably the best version to see first, because all the others bring something else to the table beyond a straight interpretation of the book.

Sorvino, Rudd and Donovan are very good; Sorvino, in fact, is excellent, better than Farrow in the 1974 version. But Toby Stephens is badly miscast as Jay Gatsby; there's no sense of romance to him, no yearning; he has none of Gatsby's strengths NOR his weaknesses. He looks like a cigarette ad.



But the real problem here is to reveal Gatsby's background much, much too early; he should remain mysterious to us for longer than he does. The production lacks the richness required, and ducks away from important scenes; it's sentimental instead of wryly wistful, and doesn't capture the period very well.

The Great Great Gatsby remains to be made. We're left with a lost silent version, the elusive Ladd version (which is quite good) and the good, but not outstanding, version from 1974. This one is just a footnote.