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ON FAITH & MEDIA View Comments

The Great Gatsby

By
John Mulderig
Source: Catholic News Service


Leonardo DiCaprio and Carey Mulligan star in a scene from the movie "The Great Gatsby."
A great American novel doesn't always, it seems, translate into a sure-fire film property. A case in point: F. Scott Fitzgerald's classic 1925 tale, "The Great Gatsby."

Director and co-writer Baz Luhrmann's current 3-D adaptation (Warner Bros.) is at least the fourth effort to being Fitzgerald's chronicle of the Jazz Age to the big screen, the first of which dates back to the silent era.

Since that 1926 production -- helmed by Herbert Brenon -- has long been lost, it's impossible to assess its merits from this remove. But neither of its successors -- director Elliott Nugent's 1949 version starring Alan Ladd and Betty Field and Jack Clayton's 1974 release featuring Robert Redford and Mia Farrow -- generated much critical enthusiasm.

Despite its star power and a script by Francis Ford Coppola, Clayton's offering was widely regarded as pretty but listless. Though that's unlikely to be anyone's assessment of Luhrmann's film -- which is, if anything, overcharged and bursting at the seams -- there are other problems afoot.

In particular, Luhrmann's splashy, sometimes cartoonish approach to the material creates a fablelike setting that distances viewers from Fitzgerald's characters -- and thereby lessens the emotional impact of their downfall.

For those who failed to peruse even the Cliff Notes during high school or college, here's the setup: Narrator Nick Carraway (Tobey Maguire), Mid-western-bred scion of the WASP establishment, moves to New York, becomes a tyro bond salesman and rents an inexpensive summer cottage on Long Island as a venue for weekend getaways.

His neighbor there, the occupant of a vast, fantastical mansion, is iconic self-made man and would-be social insider Jay Gatsby (Leonardo DiCaprio). Gatsby's past is shadowy; so too is the source of his seemingly inexhaustible wealth.

Besides sharing the same neighborhood, Nick and Gatsby have something else in common as well: Nick's alluring cousin Daisy (Carey Mulligan), whom Gatsby, as a World War I-era G.I., once romanced and for whom he continues to carry an obsessively-blazing torch. There's just one difficulty: Daisy is now married to old-money millionaire and despicable cad Tom Buchanan (Joel Edgerton).

At Gatsby's request, Nick engineers a reunion for the duo, hardly guessing that the renewed connection will lead on, first to adultery, then to a disastrous confrontation with Tom and finally, through convoluted circumstances, to tragedy.

Luhrmann revels in the frenzied decadence of Gatsby's lifestyle, choreographing the riotous, gin-laden parties the mystery man hosts in a manner that suggests Busby Berkeley on hallucinogens.

Additionally, Luhrmann's script, penned in collaboration with Craig Pearce, tends to glamorize the sinful relationship at the heart of the story, suggesting that an unpleasant spouse and the inherent superiority of the illicit lovers are reason enough to ignore the Sixth Commandment.

As Gatsby himself might put it: Not so, old sport.

The film contains scenes of both lethal and nonlethal violence with minimal gore, an uncritical view of adultery, brief semi-graphic adulterous activity as well as some other sexual content, a glimpse of partial nudity, a few uses of profanity, a couple of crude terms and a religious slur. The Catholic News Service classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
John Mulderig is on the staff of Catholic News Service.





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Cyril of Alexandria: Saints are not born with halos around their heads. Cyril, recognized as a great teacher of the Church, began his career as archbishop of Alexandria, Egypt, with impulsive, often violent, actions. He pillaged and closed the churches of the Novatian heretics (who required those who denied the faith to be rebaptized), participated in the deposing of St. John Chrysostom (September 13) and confiscated Jewish property, expelling the Jews from Alexandria in retaliation for their attacks on Christians. 
<p>Cyril’s importance for theology and Church history lies in his championing the cause of orthodoxy against the heresy of Nestorius, who taught that in Christ there were two persons, one human and one divine.</p><p>The controversy centered around the two natures in Christ. Nestorius would not agree to the title “God-bearer” for Mary (January 1). He preferred “Christ-bearer,” saying there are two distinct persons in Christ (divine and human) joined only by a moral union. He said Mary was not the mother of God but only of the man Christ, whose humanity was only a temple of God. Nestorianism implied that the humanity of Christ was a mere disguise. </p><p>Presiding as the pope’s representative at the Council of Ephesus (431), Cyril condemned Nestorianism and proclaimed Mary truly the “God-bearer” (the mother of the one Person who is truly God and truly human). In the confusion that followed, Cyril was deposed and imprisoned for three months, after which he was welcomed back to Alexandria as a second Athanasius (the champion against Arianism). </p><p>Besides needing to soften some of his opposition to those who had sided with Nestorius, Cyril had difficulties with some of his own allies, who thought he had gone too far, sacrificing not only language but orthodoxy. Until his death, his policy of moderation kept his extreme partisans under control. On his deathbed, despite pressure, he refused to condemn the teacher of Nestorius.</p> American Catholic Blog Father, I have come to the understanding that Jesus asks very little from us, only that we accept him as our friend and love him and care for one another. How simple! And yet how difficult! Please give me grace not to disappoint him, who has given his all for me. I ask this in Jesus's name, Amen.

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