REVIEW: The Great Gatsby

15 06 2013

Cannes Film Festival – Out of Competition (Opening Film)

I found F. Scott Fitzgerald’s great American novel “The Great Gatsby” completely captivating and relevant in 11th grade English.  However, I acknowledge that plenty of people may have had the Jazz Age classic spoiled by poor instruction or a general classroom environment.

For all those people who think classic literature has to be boring and stuffy, let me introduce you to Baz Luhrmann, the world’s coolest English teacher.  He takes antiquated texts like Shakespeare’s “Romeo & Juliet” and reinterprets them for a modern audience, breathing new life into them in the process.  Though some scoff at the idea of combining Fitzgerald and Fergie or jazz and Jay-Z,  it’s that kind of madness that makes Luhrmann’s adaptation of “The Great Gatsby” such a delightfully fresh take on an old favorite.

It’s Luhrmann on all cylinders firing, which is the source of the film’s vibrant strengths.  On the other hand, it’s also the root of the film’s biggest flaws.  Though “The Great Gatsby” is brilliantly refashioned in the image of “Moulin Rouge,” it’s sometimes a little too pumped up for its own good.  Putting Fitzgerald on steroids comes with some loss of subtlety, particularly in the form of his recurring motifs: the green light and Dr. T.J. Ecklenburg’s eyes.  Rather than letting them sneak up on you, Luhrmann hits you over the head with them like a sledgehammer as if to say, “PAY ATTENTION! THESE ARE REALLY IMPORTANT!”

Read the rest of this entry »

Advertisements




LISTFUL THINKING: Most Anticipated Movies of 2013

2 01 2013

I’ll still be stuck in 2012 at least until the Oscars are handed out and until then will be filling in with reviews of some of the movies I missed from the year.  But it’s time to move forward and look ahead to 2013, which could be a great year for cinema.  Several of my favorite filmmakers have projects due this year, which is what I will have to remind myself as I have to slog through a year that reportedly will give us 31 sequels and 17 reboots!

I had originally prepared a top 10 list for my most anticipated of 2013, but then I realized that since so many were TBD, there’s a chance we won’t see some of these movies until 2014.  So I added three movies at the beginning of the list that premiered on the 2012 fall festival circuit but will hit theaters for paying audiences in 2013.

Without further ado…

To The Wonder

#13
“To The Wonder” (April)
Written and directed by Terrence Malick
Starring Ben Affleck, Rachel McAdams, and Olga Kurylenko

A year ago, Terrence Malick was critical darling with his “The Tree of Life.”  Yet when “To the Wonder” arrived at Toronto and Venice, you’d have thought they were reviewing a Michael Bay movie.  How someone goes from hero to zero that meteorically is curious.  If nothing else, “To the Wonder” could be the most anticipated disaster of the year.

Frances Ha

#12
“Frances Ha” (May 17)
Directed by Noah Baumbach
Written by Noah Baumbach and Greta Gerwig
Starring Greta Gerwig, Mickey Sumner, and Adam Driver

Upon its many festival stops in 2012, it was called a mixture of French New Wave with early Woody Allen.  Combine that with the fact that it’s written and directed by Noah Baumbach, whose “The Squid and the Whale” knocked me off my feet, “Frances Ha” sounds like a movie custom-made for me.

The Place Beyond the Pines

#11
“The Place Beyond the Pines” (March 29)
Directed by Derek Cianfrance
Written by Derek Cianfrance, Ben Coccio, and Darius Marder
Starring Ryan Gosling, Bradley Cooper, and Eva Mendes

They called it a sprawling, multigenerational epic when it played Toronto.  And from the trailer for Derek Cianfrance’s follow-up to the harrowing “Blue Valentine,” it looks ambitious.  And honestly, I may be looking forward to this far more than several of the movies that made the ten.

Nebraska

#10
“Nebraska” (TBD)
Directed by Alexander Payne
Written by Bob Nelson
Starring Devin Ratray, Bruce Dern, and Bob Odenkirk

Alexander Payne’s “Election” alone makes anything from the director worth anticipating.  After a second writing Oscar back from a seven-year hiatus for “The Descendants,” he shortens his gap with a new movie within two years.  I’m a little skeptical, though, since the cast lacks some of the pop of Payne’s previous films, and he also didn’t write this one.

Inside Llewyn Davis

#9
“Inside Llewyn Davis” (TBD)
Written and directed by Joel and Ethan Coen
Starring Oscar Isaac, Carey Mulligan, and Justin Timberlake

The Coens have gone from 1960s Jewish suburbia in “A Serious Man” to the 1880s Wild West in “True Grit.”  And now … back to the 1960s for the folk music scene of Greenwich Village?  They sure like to keep us on our feet.

The Wolf of Wall Street

#8
“The Wolf of Wall Street” (TBD)
Directed by Martin Scorsese
Written by Terence Winter
Starring Leonardo DiCaprio, Jonah Hill, and Matthew McConaughey

Scorsese.  Enough said.  I suspect this will be the role that wins DiCaprio his Oscar, provided he doesn’t take Best Supporting Actor for “Django Unchained” this year.  With “The Great Gatsby” (see below) moving back to 2013, it assures us yet another fantastic one-two punch within the same year from DiCaprio.  “Gangs of New York” and “Catch Me If You Can.”  “The Departed” and “Blood Diamond.”  “Shutter Island” and “Inception.”  Boom, Leo comin’ at ya!

Catching Fire

#7
“The Hunger Games: Catching Fire” (November 22)
Directed by Francis Lawrence
Written by Simon Beaufoy and Michael Arndt
Starring Jennifer Lawrence, Josh Hutcherson, and Liam Hemsworth

I enjoyed “The Hunger Games” this year, though I do see room for improvement in sequels.  Hopefully the writer of “Slumdog Millionaire” and “127 Hours” as well as the writer of “Toy Story 3” can elevate it because I’m certainly not expecting much from the director of the middling “Water for Elephants.”  And I just kind of need something to fill the void left from “Harry Potter.”

Elysium

#6
“Elysium” (August 9)
Written and directed by Neill Blomkamp
Starring Matt Damon, Jodie Foster, and Sharlto Copley

Anything shrouded in secrecy is enough to get me interested; that’s why “Prometheus” was at the top of this list for me in 2012 (that list was just mental).  And I think “District 9” could be merely scratching the surface of what Neill Blomkamp is capable of.  With Matt Damon and Jodie Foster headlining a sci-fi class warfare pic, this could be other-worldly levels of awesome.

Gravity

#5
“Gravity” (TBD)
Directed by Alfonso Cuaron
Written by Alfonso Cuaron, Jonas Cuaron, and Rodrigo Garcia
Starring George Clooney and Sandra Bullock

Speaking of other-worldly levels of awesome, let’s talk Alfonso Cuaron’s “Gravity.”  He hasn’t released a film for 7 years, but his last three films were the incredible stretch of “Y Tu Mama Tambien,” “Harry Potter and the Prisoner of Azkaban,” and “Children of Men.”  His “Gravity” has been described as “if ‘Avatar’ had been released in 1927 a week after ‘The Jazz Singer.'”  What.  Warner Bros. pushed it back from 2012 for what I imagine was fine-tuning, which just has me all the more on pins and needles.

Labor Day

#4
“Labor Day” (TBD)
Written and directed by Jason Reitman
Starring Kate Winslet, Josh Brolin, and Tobey Maguire

Jason Reitman, on a subjective and personal level, is probably my favorite director.  He’s had a flawless 4-for-4 stretch of films in his career, and though “Young Adult” might have been a step down from “Up in the Air,” that’s because the latter was basically perfect.  I’m fascinated to see what he can do with Kate Winslet and Josh Brolin.

Twelve Years a Slave

#3
“Twelve Years a Slave” (TBD)
Directed by Steve McQueen
Written by Steve McQueen and John Ridley
Starring Benedict Cumberbatch, Brad Pitt, and Michael Fassbender

Steve McQueen’s “Hunger” was pretty good, but his “Shame” was an absolutely ingenious triumph.  I can only imagine how he plans to top it in “Twelve Years a Slave,” the story of a New York man kidnapped and sold into slavery.  It’s got one heck of a cast, from Michael Fassbender to Brad Pitt to Quvenzhané Wallis and Dwight Henry’s first roles post-“Beasts of the Southern Wild.”  Is it too soon to cry Oscar?

Star Trek

#2
“Star Trek Into Darkness” (May 17)
Directed by J.J. Abrams
Written by Robert Orci, Alex Kurtzman, and Damon Lindelof
Starring Chris Pine, Zachary Quinto, and Benedict Cumberbatch

Abrams did one heck of a job turning around the “Star Trek” franchise in 2009.  And from the superb trailer, it looks like he plans to boldly go into Christopher Nolan territory with a beautifully lensed and incredibly emotional follow-up.  I can’t wait.

Gatsby

#1
“The Great Gatsby” (May 10)
Directed by Baz Luhrmann
Starring Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire

I heard today that Jay-Z is going to be scoring Baz Luhrmann’s adaptation of “The Great Gatsby.”  My first reaction was to rethink my placement of the movie as my most anticipated of 2013.  Then, I thought about it and realized that it might be a stroke of inspired brilliance that makes the movie even better.  Luhrmann is unparalleled in his ability to take old texts and make them feel alive, modern, and relevant.  Just look at how he took Shakespeare’s “Romeo & Juliet” and made it relevant for a post-MTV audience.  And think about how he seamlessly integrated pop songs into “Moulin Rouge,” set in 1900!  Luhrmann’s flair for the theatrical and opulent borders on gaudy on several occasions  but I think he’s the perfect match for F. Scott Fitzgerald’s tale of the rich and the glamorous.  I have no doubt his use of 3D will serve the movie well too.  All in all, his “The Great Gatsby” will most definitely be for and by our times … and could wind up being the movie that defines 2013.





Random Factoid #535

14 01 2011

At the end of 2010, we heard plenty of prominent members of the filmmaking industry weighing in on the future of 3D.  I think James Cameron put it best when he said something along the lines of “it’s going to be a tool in the arsenal of filmmakers, much like color and sound.”  In my opinion, the sooner it becomes a serious filmmaking tool, the sooner it becomes eradicated as a marketing gimmick. And I think we are all ready for the 3D-conversion phase of Hollywood money-grubbing to end.

So, to quote Steven Zeitchick of The Los Angeles Times‘ title, “Why is everyone so on Baz Luhrmann for a 3D ‘Great Gatsby?’”  Here’s some of what he said:

“As the Aussie provocateur said at the Consumer Electronics Show in Las Vegas — at a panel moderated by our colleague Geoff Boucher; you can watch a video clip here — the director is debating shooting his F. Scott Fitzgerald adaptation using that Z-axis. The logic, as recalled by Boucher (who spoke to Luhrmann at length about the issue), is that when we see a drama on the stage, we’re able to observe various levels of detail through the use of foreground and background. The 3-D format simply allows for the same experience on the screen.

Luhrmann is always shaking up the status quo, so it shouldn’t surprise us that he might try to marry a classic 20th century story with a 21st century format. He also seems to thrive on the negative reaction (which makes the irate, can-he-be-stopped reactions more than a little funny.)

And he clearly loves the grandiose; when we interviewed him about this project a few years ago he said (with appropriate grandiosity) that his ambition was nothing less than a movie that spoke for our gilded age. (‘People will need an explanation of where we are and where we’ve been, and “The Great Gatsby” can provide that explanation,’ he said.) What better way to make that kind of grand statement than to have Nick Carraway and Daisy Buchanan in three dimensions?”

Luhrmann is the perfect director to give the 3D tool on a movie that doesn’t particularly need the tweaking a trial run.  Audiences can see it done in his zany style and decide through their money whether or not it should continue to be done.  It’s pretty hypocritical for people to go crazy when Luhrmann suggested shooting “The Great Gatsby” in 3D because a similar risk was taken by James Cameron with “Avatar.”  3D was for animation and corny movies to throw things at an audience; it was not for serious filmmaking.  Now, thanks to his lead, directors like Martin Scorsese are shooting movies in 3D.

Filmmaking is about advancing the craft, and if we remain stagnant, it will die out and wind up like pottery.  I don’t want our great form of art and entertainment to become irrelevant, so YES, I am behind Baz Luhrmann.  (If he fails, we still have Fitzgerald’s book and the 1970s movie.)