By Robin Simmons
When F. Scott Fitzgerald’s iconic novel was first published in 1924, it was the height of the “roaring twenties” and the Jazz Age. After the “war to end all war,” America was undergoing a huge transformation in a youth-driven, wealth-obsessed, bootleg-fueled, amoral culture that was at odds with its entrenched, heartland Bible-embracing denizens.
Fitzgerald’s novel is much more than an account of the mysterious and wealthy Jay Gatsby’s obsession with married Daisy Buchanan (Carey Mulligan). It is in fact a scathing portrait of the cold darkness in the empty heart of the American dream, something that’s sorely missing in Baz Lurhmann’s superficial version of a story that has now been adapted for the big screen four times.
But don’t misunderstand; I was fully entertained by Lurhmann’s cranked-up, over-the-top, 3D extravaganza with its myriad of unexpected but oddly fitting pop tunes. But even with hip-hop pounding the high wattage surround theatrical mix, there was no contest when Irving Berlin’s Tin Pan Alley hit “What’ll I Do” wafted over the audience.
This latest iteration of “Gatsby” is bookended by Fitzgerald stand-in Nick Carraway (Tobey Maguire). We meet him in a sanitarium. As part of his therapy, he’s asked to write an account of his first-hand experience as witness to the great tragedy and crazed obsession of Jay Gatsby with Daisy, Carraway’s cousin.
After lavish credits that undulate (even in 2D), Baz Luhrmann immediately cranks up Fitzgerald’s slim novel with big doses of lavish production design, art direction and in-your-face 3D. No question at all that Leonardo DiCaprio inhabits Gatsby, but this fourth film adaptation is on steroids from frame one. Superficial and super stylized, the roaring 20s truly roar. It’s an aural and visual sensation. And that’s all it’s really about. At no time did I not feel the tension between the story and the style. But sadly, story was always the loser. Sure, I cared about the principals, but I felt no actual emotion at the shocking (f you are new to the story) climax. But for Luhrmann, it’s always about style. That’s the whole point, and excuse, for the movies he chooses to make. Lurhmann’s movies are really feature length music videos. And that’s not a bad thing if that’s what you like.
While walking out of the Palme d’Or screening, I heard a woman ask her husband if he thought Fitzgerald would like Lurhmann’s movie. The man said, “Sure. If his check didn’t bounce and the theater sold booze.”
Is it worth seeing? Yes. But it helps knowing what you’re getting into before you buy your tickets. I recommend seeing it in digital 3D at Cinemas Palme d’Or. The screen is big, the image is exceedingly crisp and the sound is rich and full. Plus, if you go to one of the 21+ screenings, you can have a glass of good wine or a fine imported beer, which is most fitting for this film.
NEW FOR THE HOME THEATER:
DARK SKIES
I liked this nice looking little supernatural thriller from the producer of PARANORMAL ACTIVITY, INSIDIOUS, and SINISTER. It’s about a young suburban family trying to cope with irrational, increasingly disturbing events that threaten and terrify the peace and safety of their ordinary lives. Not breaking new ground here, but writer-director Scott Stewart (PRIEST, LEGION) triggered some goose bumps and provocative thoughts with his “alien’s among us” story. Keri Russell and Josh Hamilton are the besieged parents and J.K. Simmons has a great, extended bit as an alien abduction expert.
PIERRE ETAIX
The French master of comedy Pierre Étaix is hardly known to most Americans. In his long show-biz career, he’s been a mime, a circus performer, cabaret artist, screenwriter, filmmaker and more. Criterion has released a collection of his eclectic films made in the decade between 1961 and 1971. They include: RUPTURE, the Oscar© winner HAPPY ANNIVERSARY, THE SUITOR, YOYO, AS LONG AS YOU GOT YOUR HEALTH, FEELING GOOD, LE GRAND AMOUR and LAND OF MILK AND HONEY. Étaix has starred in every film he has directed.
SUPERMAN UNBOUND
This very cool animated movie that only whets the appetite for the big screen return of Superman in MAN OF STEEL. This one begins with an unstoppable, mysterious fireball heading to Earth. There’s also Brainiac (he’s miniaturized Krypton’s capital Kandor!), Supergirl and a beautiful, dangerously determined reporter.
Let’s talk. RobinESimmons@aol.com
