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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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Josephine Bakhita: For many years, Josephine Bakhita was a slave but her spirit was always free and eventually that spirit prevailed. 
<p>Born in Olgossa in the Darfur region of southern Sudan, Josephine was kidnapped at the age of seven, sold into slavery and given the name Bakhita, which means <i>fortunate</i>. She was re-sold several times, finally in 1883 to Callisto Legnani, Italian consul in Khartoum, Sudan. </p><p>Two years later he took Josephine to Italy and gave her to his friend Augusto Michieli. Bakhita became babysitter to Mimmina Michieli, whom she accompanied to Venice's Institute of the Catechumens, run by the Canossian Sisters. While Mimmina was being instructed, Josephine felt drawn to the Catholic Church. She was baptized and confirmed in 1890, taking the name Josephine. </p><p>When the Michielis returned from Africa and wanted to take Mimmina and Josephine back with them, the future saint refused to go. During the ensuing court case, the Canossian sisters and the patriarch of Venice intervened on Josephine's behalf. The judge concluded that since slavery was illegal in Italy, she had actually been free since 1885. </p><p>Josephine entered the Institute of St. Magdalene of Canossa in 1893 and made her profession three years later. In 1902, she was transferred to the city of Schio (northeast of Verona), where she assisted her religious community through cooking, sewing, embroidery and welcoming visitors at the door. She soon became well loved by the children attending the sisters' school and the local citizens. She once said, "Be good, love the Lord, pray for those who do not know Him. What a great grace it is to know God!" </p><p>The first steps toward her beatification began in 1959. She was beatified in 1992 and canonized eight years later.</p> American Catholic Blog St. Paul talks about the Christian life as a race, and encourages us to run so as to win. So it’s not just OK, it’s commanded to be competitive, to strive to excel. But true greatness consists in sharing in the sacrificial love of Christ, who comes to serve rather than to be served. That means that this race St. Paul is talking about is a race to the bottom.

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