trailer

http://www.youtube.com/watch?v=OULhlaX6JY4

I don't know if we're supposed to be taking this seriously or not.
-------------------
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www.engadgethd.com - the other stuff i'm looking at

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America from 9:00 on: https://youtu.be/GUwLCQU10KQ

nm

<<Mood...Poppy Okotcha in Look 1 at Ashish Fall 2016
________________________________________

http://www.youtube.com/watch?v=Sa7KBq0q5bU

as that one Bacardi commercial that i can't fucking stand.

shit looks like a music video.

-30-
You know it's drama, but it sound real good.

I couldn't have described the setting any better than that

---------------------------------
<--The drought is over

"have fun reveling in your pettiness tho" (C) Dula summing up 98% of OKS

"I didnt finish a damn thing...matter of fact I jerked off after she left."
-Kobe speaking to investigators

L D E A

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XBOX live: micspecial

>as that one Bacardi commercial that i can't fucking stand.
>
>shit looks like a music video.

Minus toby mcguire

__________________________________

*Note to self: Add Sig*

Not sure if throwing a bunch of visual flair is what the story needed, or if anything can make it work in transfer between mediums.

Still, I'll be there.

My movies: http://russellhainline.com
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In other words, do you think there is something inherent in the source material that makes it ill-suited for a screen adaptation? I haven't seen any of the movie versions, so I don't really know what the flaws were.

It's a pretty short story, there aren't a lot of characters, there are only a few settings, the narrative is pretty clear and linear, etc. I don't necessarily think it would be *easy* to adapt, but I don't see why a skilled director wouldn't be able to make a great movie out of it.

I can't wait to see how this comes out...

----

The narrator is an impartial observer of the asshole rich, and Gatsby himself isn't really in the book much..he's more an ideal then a flesh and blood dude.

That's alot of gaps that a writer has to fill

>In other words, do you think there is something inherent in
>the source material that makes it ill-suited for a screen
>adaptation? I haven't seen any of the movie versions, so I
>don't really know what the flaws were.
>
>It's a pretty short story, there aren't a lot of characters,
>there are only a few settings, the narrative is pretty clear
>and linear, etc. I don't necessarily think it would be *easy*
>to adapt, but I don't see why a skilled director wouldn't be
>able to make a great movie out of it.
>
>I can't wait to see how this comes out...

He's a symbol. And you *can't* really flesh him out without losing that which makes Gatsby interesting-- he's not *supposed* to be this tangible human being with totally relatable motivations.

My movies: http://russellhainline.com
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>He's a symbol. And you *can't* really flesh him out without
>losing that which makes Gatsby interesting-- he's not
>*supposed* to be this tangible human being with totally
>relatable motivations.

I guess I see where you and BigReg are coming from. I'm not sure I see why Gatsby has to be tangible and relatable though. Why can't they flesh out Calloway a bit, and have Gatsby be exactly like he is in the book? (I'm thinking of like Harry Lime in The Third Man or Colonel Kurtz in Apocalypse Now, where he's a character everyone talks about the whole movie, but only shows up in short doses.)

Having not seen any of the film versions, it's hard for me to know where the shortcomings were. It would seem to me that skilled filmmakers would be able to convey the empty decadence the hollow morals of the jazz age by pretty much filming exactly what's on the page.

Then again, I don't really know what I'm talking about, so you're both probably right.

----

The book isn't a romance. At all.

I'm also concerned by the vibe the trailer gives that the Gatsby parties are super awesome. I want to be able to feel that hollowness within the decadence... which is hard to convey on screen.

It's just really fucking impossible to adapt. Really, Spring Breakers captured the Gatsby vibe close to perfectly. I doubt this film, with what seems like a romance at its forefront, will capture the tone.

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but the films have been either heavy handed or poorly suited to deliver those same effects.


and then you're just working within a fairly cliché storyline that jumped off the page because it was written by a really great author, and that formula's translated into hundreds of average at best movies in the past.


~~~~~~~~~
"This is the streets, and I am the trap." © Jay Bilas

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I think one of the things that have been missing in pasts attempts is the modernity of the moment that Fitzgerald captured. Pulling up beside a car filled with fancy negroes. Parties to the break of dawn. Fitzgerald's book was the equivalent of a music video back then.

baz's gift as a filmmaker has been taking dated source materials and making them feel very current. Past attempts to do gatsby have always felt hopelessly dated. The more baz's attempt looks like a music video or heneniken commercial, might be better for the story.



**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

which isn't available for sale digitally, apparently. lol

It was on a disc that game with a magazine in UK.

"Your current frequencies of understanding outweigh that which has been given for you to understand." Saul Williams

i'm curious how the plot and story from the book translate, but i'm willing to trust they addressed this somehow

#mistycopeland

it really is.

I'm there because its Baz and his directing style is outstanding...

*BUT* The Great Gatsby is sooo *NOT* filmmable...

and i'm not sure about the cast...I'm on board with Leo, Carey and Tobey, but Joel Edgerton--he can act...but I always feel like i'm missing something with him....

But, I think I will have to see the movie as whole to see how they *ALL* do with the material...

Get Out the Room
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Some of y'all need this in your life: http://www.psychology.com

cringeworthy. but nah, i don't think that'll happen. That trailer looked ill and I've been waiting for a Maguire movie with a little weight, so I'll check it.

______________________________


"Take one for the team when the opponents disperse damage"

I'm talking box office success, cause I've been a fan since the 1st Spiderman and I feel the reason he fell off was because of the 3rd being so shitty. He's also in Life of Pi, so he'll have some sort of reassurance. His performance in Brothers was great though.

______________________________


"Take one for the team when the opponents disperse damage"

but hearing Jay/Kanye in the trailer had me a little shook, lol

I think they did the same thing with a rap song in the Red Tails trailer, so we should be good

an anachronistic soundtrack is guaranteed

Leo, is awesome.
Gatsby, is a great role for him.

GOMD

---------------------------------
<--The drought is over

"have fun reveling in your pettiness tho" (C) Dula summing up 98% of OKS

"I didnt finish a damn thing...matter of fact I jerked off after she left."
-Kobe speaking to investigators

L D E A

Made in America? corny ass trailer

--------

for all the hype..meh.lol
__________________________________________________________
http://agoonieneversaysdie.wordpress.com <--(film)
http://moonlightronin.wordpress.com <--(writing)

********************************************************************




"I *always* quote myself. I'm the only reliable source on *most* subjects" - OKP's First Lady of Knowledge, Janey

and it was either a score of some sort, or recent stuff.

1) A score isn't gonna grab the people that this movie is aiming at.
2) If you DO have to go current, I don't think you could do much better than these two songs. Certainly WTT fits the tone of the book.
3) It's Baz. If you didn't expect some shit like that going in...

that's a fucking trainwreck, guaranteed.

On the dock of that bay serving a life sentence,even if I’m going to hell I’m gonna make an entrance

beautiful cinematography, shit-for-brains writing

I think it's an attempt to fill seats but the younger generation don't give a fuck about Fitzgerald, imo.

O well, On The Road seems like it will be on point.

PEACE LOVE and MONEY

https://soundcloud.com/dabeatnik/drumpf-beer

>I think it's an attempt to fill seats but the younger
>generation don't give a fuck about Fitzgerald, imo.
>
>O well, On The Road seems like it will be on point.

IT BE IN TRUBBLE! GAY BAY DONE LOST CONTROL!!!!!!

>BURBANK, CA, August 6, 2012 – Warner Bros. Pictures and Village Roadshow Pictures have moved the release date of “The Great Gatsby” to Summer 2013. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

In making the announcement, Fellman stated, “Based on what we’ve seen, Baz Luhrmann’s incredible work is all we anticipated and so much more. It truly brings Fitzgerald’s American classic to life in a completely immersive, visually stunning and exciting way. We think moviegoers of all ages are going to embrace it, and it makes sense to ensure this unique film reaches the largest audience possible.”
Kwan Vandenberg confirmed, “Baz is known for being innovative, but with this film he has done something completely unexpected—making it in 3D—while capturing the emotion, the intimacy, the power and the spectacle of the time. The responses we’ve had to some of the early sneak peeks have been phenomenal, and we think ‘The Great Gatsby’ will be the perfect summer movie around the world.”

From the uniquely imaginative mind of writer/producer/director Baz Luhrmann comes the new big screen adaptation of F. Scott Fitzgerald’s novel The Great Gatsby. The filmmaker has created his own distinctive visual interpretation of the classic story, bringing the period to life in a way that has never been seen before, in a film starring Leonardo DiCaprio in the title role.

__________________________________________________________________________
We out here trying to function.

Or is it common parlance and I've somehow missed it.

Either way, it's perfect.

--------

hell-below.com

If there's no Oscar potential why put it in that crowded late December where it'll be looked at as a "failed Oscar piece"?

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__________________________________________________________________________
We out here trying to function.

First reason is:
money>awards.

Second reason is this would be competeing with The Hobbit. And the studio does not want to compete with itself in money or awards.

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

Who moves their shit to a tougher time of year out of avoidance?

INBOX ME, the Screening Exchange snt me an invite:

Hey ,

Thanks for participating with The Screening Exchange! We'd like to invite you to a screening in your area of the upcoming feature film, The Great Gatsby.

Here's all of the information you need to attend this screening:

The Great Gatsby
Wednesday, September 5, 2012 - Showtime: 7:00pm
Arclight Pasadena
336 E. Colorado Blvd.
Pasadena, CA 91101

Please be sure to arrive no later than 6:00 pm , because seating is on a first-come, first-served basis.

This invitation is for you and a guest between the ages of 15 to 54 . Unfortunately, we cannot admit anyone to this screening that is outside of this criteria.

For a description of The Great Gatsby, as well as its MPAA rating status, please see below. Thank you for participating with The Screening Exchange, and we hope to see you at the movie theater!

Description: From the uniquely imaginative mind of writer/producer/director Baz Luhrmann comes the new big screen adaptation of F. Scott Fitzgerald’s novel The Great Gatsby, starring Leonardo DiCaprio in the title role. “The Great Gatsby” follows would-be writer Nick Carraway as he leaves the Midwest and comes to New York City in the “roaring” 1920’s, a time of loosening morals, glittering jazz, bootleg kings, and sky-rocketing stocks. Chasing his own American Dream, Nick lands next door to a mysterious, party-giving millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering husband, Tom Buchanan. It is here that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, and holds a mirror to our own modern times and struggles. In addition to Leonardo DiCaprio, the film stars Tobey Maguire, Carey Mulligan, and Joel Edgerton. The Film will be presented in 3D.

MPAA Rating Status: The movie will most likely be rated ‘PG-13’.

isn't django unchained coming out on the 25th that would be to leo movies on one day.

If it break when it bend you bette not put it in

http://collider.com/jay-z-the-great-gatsby/220892/

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

_______________________________________________________________________________________
Everybody knows that the best way to Attack The Media Status Quo™ is... by posting on a message board!

this after the bullitts' jeymes samuel wrote the OFFICIAL song for skyfall (http://www.okayplayer.com/news/bullitts-skyfall-james-bond-theme-mp3-stream.html)

or...

havent read the book
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

http://pitchfork.com/news/49925-jay-z-executive-producing-and-contributing-music-to-the-soundtrack-to-the-great-gatsby/

Jay-Z's involvement in the music for the long-delayed, highly anticipated film adaption of F. Scott Fitzgerald's The Great Gatsby has been detailed. An official statement (via Reuters) says Hov will serve as the soundtrack's executive producer, as well as contribute original music.

Composer Craig Armstrong, a long-time collaborator with the film's director, Baz Luhrmann, is also working on the soundtrack. It will also feature "a varied collection of the world's most talented and compelling musical artists."

"Luhrmann and Jay-Z were introduced by Leonardo DiCaprio (Jay Gatsby), and this led to a two-year collaborative effort," the statement says. "During this time, Jay-Z worked with Luhrmann and his team to capture, translate and contrast the feelings of Fitzgerald's decadent era with that of our own, using hip-hop and jazz, music contemporary and period, to bring two distinct American moments to simultaneous life."

Lurhmann goes on to explain, "Leonardo and I were lucky enough to be present in a recording session over two years ago as Jay-Z was recording 'No Church in the Wild,' and the collaboration grew from there." America! (I'd also like to point out that the aesthetic of Justin Timberlake's return is quite similar to that of the Gatsby promotional materials.)

The film, which also stars Carey Mulligan and Tobey Maguire, is scheduled for a May 10 release. No date has been set for the soundtrack, but it'll be released through Interscope.

Watch the trailer for the film, which features "No Church in the Wild":

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

http://music-mix.ew.com/2013/04/04/great-gatsby-soundtrack/

01. Jay-Z – 100$ Bill
02. Beyoncé and André 3000 – Back to Black
03. will.i.am – Bang Bang
04. Fergie, Q-Tip, and GoonRock – A Little Party Never Killed Nobody (All We Got)
05. Lana Del Rey – Young and Beautiful
06. Bryan Ferry with The Bryan Ferry Orchestra – Love Is The Drug
07. Florence and the Machine – Over The Love
08. Coco O. of Quadron – Where The Wind Blows
09. Emeli Sandé and The Bryan Ferry Orchestra – Crazy in Love
10. The xx – Together
11. Gotye – Hearts a Mess
12. Jack White – Love is Blindness
13. Nero – Into the Past

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

http://www.youtube.com/watch?v=nIewKn6EnAs

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

non-score soundtracks are making a comeback for me lately (also including django and iron fists)

V.

---
http://confessionsofacurlymind.com
https://soundcloud.com/confessionsofacurlymindredux
https://soundcloud.com/generic80sbadguy
https://soundcloud.com/miles_matheson

DROkayplayerâ„¢

Take a listen:

http://www.youtube.com/watch?v=IhLRy3tN_Tk

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

Love that Quadron song on "The Great Gatsby" soundtrack too.

shit, I'm still rooting for it tho. I liked the new trailer.

At least the soundtrack fit hand in hand with the scenes it was in.

*Edit*

The 3D was worth it just for the Gravity trailer alone. But, the 3D was well done.

------------------------------------------
America from 9:00 on: https://youtu.be/GUwLCQU10KQ

>At least the soundtrack fit hand in hand with the scenes it
>was in.
>
>*Edit*
>
>The 3D was worth it just for the Gravity trailer alone. But,
>the 3D was well done.

it needed to be 40 minutes shorter.

but a solid film...

but damn Baz went hoard in the paint with the sexualized black bodies fetish imagery. yes, that was Fitzgerald through and through and part of the "panic" that fucked with him most of his life, but DAMN, how many sweaty/dewy covered niggas can you PUT in a movie.

Gatsby had more shirtless black men in it than the last porno I saw, which was all black and Gatsby had MORE than the porno.

And Joel Edgerton? man, give this motherfucker some more movies! He was magnetic as Tom Buchanan.

Get Out the Room
https://itunes.apple.com/us/podcast/get-out-the-room/id525657893

Some of y'all need this in your life: http://www.psychology.com

Fitzgerald was racist as shit...

†††††††††††††††††††††††††††††††††††††††
http://s17.postimg.org/6r7bfqpnz/kyrieglass.jpg - They Call Him Mr. Glass

As I suspected above, they made it a very basic romance, which strips the source material of its entire point. What's more, the passages used had their tone flagrantly changed or were presented in a manner that left them without impact, largely due to the simplification of the story.

Gatsby is not "boy meets girl, boy and girl fall in love, boy loses girl, boy wants girl back." To depict it that way is to lose everything that makes the book great.

I thought Leo was magnificent, as was the girl who played Jordan, even though they removed nearly everything great about her character. Mulligan was okay, considering she was just asked to do a number of things Daisy would never do. I prefer a WASPier Tom than Edgerton, but he did well enough. I didn't mind the hip hop at all, but putting it alongside the sexualities black figures was very strange.

Baz clearly idolizes and romanticizes Gatsby, which is... odd. The parties were all vibrant and magnificent, which is the opposite of what you should think leaving the film.

The best scene for me was the scene before Gatsby knows if Nick will set up the tea with Daisy. The sneak outside, the affectations, the loneliness, the desperation, the disguising of ones emotions, the obvious longing on the part of Gatsby to "belong"... I thought Leo in that scene nailed it, and Nick's flip dismissal was great too. Awesome scene.

I could also rant about the shiftiness of the framing device. But I won't.

I think Baz did a few things well, but mostly he tried to hurdle the fact that Gatsby doesn't make for a good film by changing the tone and meaning of the source material, which I have a problem with. Combined with the crazy long run time and the dragging pace despite the film's excess of flash and editing... and yeah, I didn't care for it.

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>changing the tone and meaning of the source material, which I
>have a problem with.

I'd guess I'm in the minority on this, but *IN PRINCIPLE* I don't really have a problem with that. I sort of reject the notion that filmmakers need to adhere to source material in any way. I look at source material as something a filmmaker should sculpt in any way he or she sees fit. If the movie ends up being a dead on match, cool; if it ends up diverging wildly, also cool. To me, one is not necessarily preferable to the other.

I mean, yeah, I agree with you - Luhrmann's story is less substantive and nuanced than Fitgerald's (obviously). Even though that's true, though, I'm not sure I'm comfortably using that as my main complaint against the movie. It's an unfair comparison IMO. I mean, aside from pacing, most of your complains have to do with the movie diverging from the book. (And for the record, I thought the pace was fine - this actually felt a lot less long to me than Iron Man 3, which felt like it was about 4 hours.)

I think it's a minor issue for me because only adaptations of "classic" texts get this treatment. Nobody was saying they wished Drive adhered more closely to the source, since most people never read that shit. I'd say the same is true of of tons of movies. I don't know how closely Goodfellas resembles Wiseguy (or whatever it was), but I don't care. (I'd guess not very closely...) In the case of The Godfather, Coppola didn't really retain the meaning and tone of the source at all (since it was a pulpy crime novel with tons of fucking), but instead actually elevated it.

Those guys took an idea, filtered it through their own sensibilities, found the story THEY wanted to tell within their source material, and told it. Which is what Luhrmann did here. The difference is that Gatbsy is seen as an almost sacred text, so people are spending all their time scrutinizing the page-to-screen transition instead of evaluating the movie on it's own terms.

There is another difference, of course: Gatsby isn't as good as those movies. This isn't necessarily a defense of the latest Gatsby movie, as it's obviously got some issues, but more so just a larger argument of the responsibilities (or lack thereof) of filmmakers doing adaptation. (And I might as well go on record as saying I didn't think this movie was nearly as bad as some people are making it out to be. I actually thought it was pretty enjoyable if taken on it's own terms...)

----

Although I think adaptation should in general implement change that tonally reflects the source, I don't have a problem in principle...

... my big problem is that I don't think it works as a romance. I think the ending only impacts if Gatsby's ambition/problems are bigger than just getting a girl he lost. Simplifying it and adding to create a "romance" not only doesn't tonally reflect the source, I think it doesn't ever gel.

It also doesn't make any of Nick's stuff work if its simplified like that either.

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of WASPy...

he was fine to me.

in fact, Edgerton was the best thing about the movie.

Get Out the Room
https://itunes.apple.com/us/podcast/get-out-the-room/id525657893

Some of y'all need this in your life: http://www.psychology.com

Baz thinks in song lyrics; making "Young and Beautiful" the "theme" of their relationship was perfect because it hints at how stupid Gatsby is to pursue it now.

And I find it hard to NOT emphasize a relationship that catalyzes the final act of the book.

---------------------------------
Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

>And I find it hard to NOT emphasize a relationship that
>catalyzes the final act of the book.

Baz tries to shoehorn Gatsby's storyline into the protagonist role when convenient.

I understand why, as the other films generally do that too, as they generally emphasize the romance. A tragic end to a romance is easier to portray on film than one character's increased disillusionment with a portion of society. (Another reason why cutting Nick's relationship with Jordan from the film was a poor choice IMO-- would've taken very little screen time but would have helped flesh out Nick and underscore his final lesson.)

Gatsby won't ever truly work as a film, IMO, until a director figures out how to emphasize Nick's journey, refuses to boil down Gatsby and Daisy to star-crossed lovers, and focuses instead consistently on Gatsby's obsession with climbing the social ladder and Daisy's flighty hollowness. I understand why they never will, as that's a downer of a film with no likable characters... but that's more of a reflection of the source material.

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That he's building up his internal mythology to match that of Gatsby.

Whether or not you assign that role to him, though, depends on how unreliable a narrator you see him as, and how much weight you place on him acquiescing to bringing Gatsby and Daisy together. Is his self-sobriquet as "one of the few honest men" itself a lie?

Now, THAT could be a film like Memento, but I don't know that IT's a good adaptation either.

---------------------------------
Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

You know that feeling when you're at a party, and everyone there is partying really hard, and you look at them and think how sad they all are in real life and how hard they're compensating for it? Yet simultaneously, because you're the only one in the room feeling this way, you feel both the weight of your loneliness and their incessant and pointless fight towards avoiding loneliness?

That's how one should feel during a Gatsby film, IMO, lol. And that's not a film experience audiences want to have, so no one will ever make it that way.

My movies: http://russellhainline.com
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>You know that feeling when you're at a party, and everyone
>there is partying really hard, and you look at them and think
>how sad they all are in real life and how hard they're
>compensating for it? Yet simultaneously, because you're the
>only one in the room feeling this way, you feel both the
>weight of your loneliness and their incessant and pointless
>fight towards avoiding loneliness?
>
>That's how one should feel during a Gatsby film, IMO, lol. And
>that's not a film experience audiences want to have, so no one
>will ever make it that way.

I didn't really feel enveloped by the parties as much as I felt like they were thrown at me. Very much like the initial ensemble pieces in Moulin Rouge, the Gatsby parties were more disorienting than anything else.

And there were a few scenes in the back half where you could see, along with Nick, a sense of frustration or disappointment across Gatsby's face-- like it didn't feel right, or that all this work was for a hollow "victory."

Also, the cuts to Nick during the shirt scene, I felt, gave me that impression that you were looking for. Actually, any time Nick and Gatsby interacted, the cracks came through. Which are testament to Leo's performance, and, I think anyway, Luhrmann's direction.

---------------------------------
Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

did not care for this much at all.

what I liked:
- Leo. really great.
- didn't mind Edgerton or Tobey, I guess. Mulligan looked the part, didn't have a ton to do besides look with big eyes and a quivery lip.
- the quieter, dramatic scenes worked pretty well. the big Edgerton/Leo showdown was especially good, and a nice show of restraint from Baz to cut the soundtrack here.
- some of the visual/song pairings made for good "ooh, nice music video!" moments.

what I didn't:
- for the first 30 minutes of the movie, I momentarily forgot how normal people are supposed to speak and act. the tone was so forced and affected with the camera zipping everywhere, confusing edits, weird dialogue - i was completely lost.
- Baz Luhrmann just has shitty taste. as it goes with Michael Bay, my issue isn't with the stylistic excess but rather the tone deafness and poor taste of everything else. some of the editing was really hokey and
- it fucking drags like shit in the middle. fell asleep for a bit. not even all those edits and song cues could keep me awake.

obviously, this is a tough novel to adapt. it's a book that is more noteworthy for the style and artistry of its prose rather than the actual plot, so what you get is this kind of limp and surprisingly conventional love story. Luhrmann compounds this by making some poor decisions about framing device and some of the relationships from the novel, but even if he had, Gatsby might just not be a very interesting story. as Longo mentioned, Luhrmann obviously loves the material, which is how you end up with regretful moments like the ending lines of novel slapped onto the screen.

I'm being facetious. Flick was enjoyable for about 1:45 of its 2:20 running time, with the first half hour dragging quite a bit

Story-wise, I have a vague recollection of the book, so I don't know/care how closely it adhered to it

But the sense that I'm getting is that it was *fairly* close, even though Baz made Gatsby a hero, somewhat, which is weird, because son was basically a broke dude who came up and became obsessed with a girl and stalked her out. I also remember that the book version of Gatsby is supposed to be a symbol of sorts, so I understand why Baz and co-writer Craig Pearce tried to flesh him out a bit more...

The story was fairly rudimentary, offering little in the way of surprises or nuance. Not sure how they could have deviated, though, without pissing off a legion of the book's fans. And I didn't mind the framing device of having Nick tell the story, either, though it was weird to have him spend the entire length of the film recounting this story as if it were some kind of mental purge, only to have him top it off in the end by adding "The Great" to his tome's title at the end. Or maybe I misread that. *shrugs*

Visually, it was gorgeous, as expected. The editing didn't bother me much at all, since that's how Baz gets down. Matter of fact, this movie is mostly a Baz Luhrmann highlight reel, with the usual Baz Luhrmann shit: flashy visuals, quick cutting, music mash-ups that have mixed results, a "tragic love story," etc.

Leo was perfect was Gatsby. Edgerton was cool as Tom. Didn't quite buy Tobey as Nick. Carey Mulligan is so cute. Character was barely there, though. Dug the Elizabeth Debicki, though. And I wished that Isla Fisher and Jason Clarke had more to do.

Boy, was it pretty to look at.

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Voila, Magic.

It looked cool visually, but it wasn't anything spectacular.

I didn't really care enough for any of the characters and it was definitely too long. The story itself wasn't that interesting and I felt like a lot of the shit was weird for the sake of being different. They could have easily cut about 20-30 minutes off of it and not lost anything. It might be okay for a rental but it ain't worth spending more than a dollar or two on.

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i'm serious. the music was jarring and destroyed the tone of the film.

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Steph: I was just fooling about

Kyrie: I wasn't.


https://www.youtube.com/watch?v=R8OWNspU_yE

I think it was a little over done. It worked in the speakeasy scene.

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Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

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Steph: I was just fooling about

Kyrie: I wasn't.


https://www.youtube.com/watch?v=R8OWNspU_yE

than I was even on H to the Izzo popping in.

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Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

rap in a film set in the 1920s is not cool

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https://93millionmilesabove.blogspot.com/
https://rateyourmusic.com/~Kosa12

That scene was FANTASTIC. Here, there's a whole article about it:

http://www.vulture.com/2013/05/great-gatsby-leonardo-dicaprio-introduction-scene.html

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Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

jazz

you know

because jazz age


the music creates the most cringe worthy moments of this film

overall it was ok though, I really liked Leo as Gatsby

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https://93millionmilesabove.blogspot.com/
https://rateyourmusic.com/~Kosa12

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Photo zine(some images NSFW): http://bit.ly/USaSPhoto

"This (and every, actually) conversation needs more Chesterton and less Mike Francesa." - Walleye

Elizabeth Debicki stole it

Well done. Critics may not like it but the audience sure does. Folks was clapping at the end of the flick. Luhrmann razzles and DiCaprio dazzles, what a perfect pairing.

Imo TGG is a very simple, linear, and uncomplicated story. It is about the shallow lives of the 1%. This sort of subject matter cannot be made into a deep thought provoking film. So i have no problem with TGG being a glossy, vibrant, and overly romanticized film.

The jazz age never really ended. As a matter of fact more Americans than ever are involved in all sorts of escapist activity. I don't really think this is a bad thing. Most so called progress has failed us so why not go to a party. I'm gonna end it with this, TGG is all about beautiful cars, beautiful men , beautiful women, champagne and good times and the benjamins. If you don't like this you are an ugly person,lol.

Grade B+

TGG has made 90 million in 2 weeks. I may need to revise my 2013 summer movies prediction list.