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The great gatsby: film review.

Leonardo DiCaprio, Tobey Maguire and Carey Mulligan star in Baz Luhrmann's adaptation of the F. Scott Fitzgerald novel.

By Todd McCarthy

Todd McCarthy

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While secondary characters wore the majority of Prada’s designs, Daisy’s party dress (pictured being worn by Carey Mulligan ) was the only one chosen for the primary characters.

The center holds amidst all the razzle-dazzle and razzmatazz of Baz Luhrmann ‘s endlessly extravagant screen adaptation of F. Scott Fitzgerald ‘s imperishable The Great Gatsby .

As is inevitable with the Australian showman, who’s never met a scene he didn’t think could be improved by more music, costumes, extras and camera tricks, this enormous production begins by being over-the-top and moves on from there. But, given the immoderate lifestyle of the title character, this approach is not exactly inappropriate, even if it is at sharp odds with the refined nature of the author’s prose. Although the dramatic challenges posed by the character of narrator Nick Carraway remain problematic, the cast is first-rate, the ambiance and story provide a measure of intoxication and, most importantly, the core thematic concerns pertaining to the American dream, self-reinvention and love lost, regained and lost again are tenaciously addressed.

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Set to open the Cannes Film Festival on May 15, five days after its U.S. theatrical bow, the Warner Bros. release stands to receive the full range of critical responses and is backed by an unstinting promotional push to spark big openings, which are far from assured. Its ultimate box office fate, though, will be determined by whether or not the film catches on with younger audiences; it’ll be a matter of the zeitgeist.

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At the very least, Luhrmann must be given credit for delivering a real interpretation of the famous 1925 novel, something not seriously attempted by the previous two big screen adaptations (there was a now-lost 1926 silent version). Paramount’s long-elusive 1949 release, directed by Elliott Nugent , suffered from threadbare production values and uneven performances but Alan Ladd was a terrific Gatsby. The same studio’s second attempt, in 1974, felt suffocating and stillborn; it had the wrong director in Jack Clayton, and Robert Redford was opaque in the title role. A 2000 television adaptation did not make a significant impression.

For many, the thought of Luhrmann tarting up such a revered classic with 3-D, anachronistic Jay Z and Beyonce music, techno-spiced party scenes and Australian locations was sacrilegious, if not criminal. Perhaps even fans of what the director did with William Shakespeare’s Romeo + Juliet and Moulin Rouge! might have wondered if he was the right guy to take on the work most often proposed as The Great American Novel.

But no matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann’s personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.

PHOTOS: The Costume and Set Designs of ‘The Great Gatsby’

It begins gently, in patchy black-and-white that, accompanied by somber music, turns into a depth-enhancing color 3-D frame that provides an equivalent for Luhrmann’s previous red curtains and at length gives way to the famous green light at the end of Daisy’s pier. Curiously, we are introduced to Nick ( Tobey Maguire ) as a patient in a sanitarium, where he begins to tell a doctor ( Jack Thompson ) the story of what happened during the summer of 1922.

Luhrmann’s cultural collisions and dislocations then commence as a synthesis of archival footage and CGI (some of which looks to feature the Empire State Building and other yet-to-be-built skyscrapers a decade before their time, and one shot featuring an unlikely copy of James Joyce ‘s Ulysses, which had only just been published in Paris) inflected on the track by modern music, all to the purpose of evoking the Jazz Age that Fitzgerald did so much to name and popularize. A polite lad of modest means trying to find a toehold on Wall Street, Nick was at Yale with rich bruiser Tom Buchanan ( Joel Edgerton ) and has taken a little house in West Egg, Long Island, right across the bay from Tom and his wife, Daisy ( Carey Mulligan ), and in the shadow of the ostentatious mansion owned by the elusive Jay Gatsby.

Everybody from party girls to politicians comes to Gatsby’s extravagant parties, where the booze flows and the music plays and the carousing goes on all night. But no one ever sees the host, whose wealth is surpassed only by his mysteriousness. No one knows where he or his money came from but, during the nocturnal bacchanals, no one much cares.

Luhrmann and his ever-essential design collaborator (and co-producer and wife) Catherine Martin always seem extra-stimulated by such scenes, which involve hundreds of ornate costumes, constant movement and music, which here imposes blends as unlikely as hip hop and Gershwin’s Rhapsody in Blue. Whether you can abide some of the specific musical choices or not, the way Luhrmann and his music editors mix and match wildly disparate source material is ballsy and impressive; the operating principle is mood and emotion, with a surprise element that can be jarring and/or inspired.

THR COVER: Baz Luhrmann ‘s Despair, Drive and Gamble Behind ‘Great Gatsby’

In time-honored dramatic fashion, Gatsby’s entrance is delayed for a half-hour and, when the moment comes, there’s something in the way it’s shot combined with the self-possessed I-own-the-world smile on Leonardo DiCaprio ‘s face that reminds of the first time you see the young Charles Foster Kane in an earlier film about a fellow with more money than he knows what to do with. This moment and, even more so, in the superb compositions and cutting of Gatsby’s death, show how classically precise Luhrmann can be when he wants to be. Throughout, he photographs DiCaprio the way a movie star used to be shot — glamorously and admiringly, taking full advantage of the charismatic attributes with which only the anointed few are blessed.

Brandishing his favorite phrase, “Old sport,” as well as a slightly affected accent no doubt carefully cultivated to disguise his origins, Gatsby befriends the innocent Nick, whom he asks to arrange a rendezvous with Daisy, his sweetheart from five years earlier when he was a soldier off to Europe and the battlefront. Having already been taken into New York by Tom and his mistress, Myrtle ( Isla Fisher ), for a debauched afternoon, Nick now accompanies Gatsby for lunch at a mixed-race speakeasy with notorious gambling associate Meyer Wolfshiem (curiously impersonated by Indian cinema star Amitabh Bachchan ).

Once Gatsby and Daisy reunite, nearly an hour in, the film settles down a bit to focus on Gatsby’s sincere effort to recapture the girl who got away, who, when he went to war, married rich boy Tom. Gatsby wants to believe they can rewind the clock to the moment when they fell in love, to the purity of what they once had. “If I could just get back to the start,” he says, choosing to ignore Nick’s warning that, “You can’t repeat the past.”

PHOTOS: Baz Luhrmann: Exclusive Portraits of the ‘Great Gatsby’ Director

They do try, organizing a nervous lunch to break the news to Tom, then heading into Manhattan on a sweltering afternoon where, in room at the Plaza, everyone’s truths come tumbling out, followed by tragedy on the road back and, ultimately, in Gatsby’s pool. The precipitating automobile accident is perhaps too sketchily portrayed for full impact, and the final stretch is slowed by too much commentary by Nick, who has become a bit of a bore by now.

Narrator/observer characters like Nick, or Stingo in Sophie’s Choice, are almost always uncomfortable fits onscreen, especially when they’re far more bland and naive than everyone else around them but still prone to making assessments and judgments about people actually living life rather than standing to the side of it. This is exacerbated here by an element of hero worship towards Gatsby that distorts the more wistful, ambivalent attitude conveyed in the book’s final pages. Maguire’s slightly aging boyishness has become tiresome by the film’s second half and a reduction of Nick’s concluding commentary would have helped.

By contrast, we don’t see enough of Daisy’s best friend, the sporty, haughty Jordan Baker, who epitomizes the sort of modern 20th -century woman who has just arrived, newly hatched, in the world and will take from it what she pleases. Australian newcomer Elizabeth Debicki , who, with her towering slim build, black hair and pool-like blue eyes resembles an elongated Zooey Deschanel , is terrific as far as the part goes, but after a few prominent scenes up front, the character recedes.

After a number of roles which, however well acted, may not have been comfortably in his wheelhouse, DiCaprio looks and feels just right as Gatsby; the glamor and allure as at one with his film star persona, he’s sufficiently savvy to convince as a successful bootlegger but still young enough to recapture the hopes and innocence of youth.

VIDEO: New ‘Great Gatsby’ Trailer Offers Beyonce, Lana Del Rey and Platinum Extravagance

Daisy is a difficult character for any actress to embody to everyone’s satisfaction because she’s a woman onto whom the reader tends to project one’s own ideal. Accordingly, viewers will debate whether or not Mulligan has the beauty, the bearing, the dream qualities desired for the part, but she lucidly portrays the desperate tear Daisy feels between her unquestionable love for Gatsby and fear of her husband. Edgerton is excellent as the proud, entitled and seething bully Tom.

Opulence defines the production values, led by Martin’s sets and costumes. As for the use of 3-D by Luhrmann and cinematographer Simon Duggan , it is probably the most naturalistic aspect of the film; only rarely do you notice it in a pronounced way and yet it really does add something to the experience, drawing you in as if escorting you through a series of opening gates, doors and emotional states.

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The great gatsby, common sense media reviewers.

Fitzgerald classic gets a decadent, gorgeous, tricky update.

A Lot or a Little?

What you will—and won't—find in this movie.

The film's underlying message is pretty bleak: Peo

Most everyone behaves in questionable ways in the

A man is held by two others while someone else hit

A couple is heard moaning from behind closed doors

Language includes relatively infrequent use of "he

Tons of drinking. One character is described as "m

Parents need to know that director Baz Luhrmann's ( Moulin Rouge ) take on The Great Gatsby is a decadent, dizzying version of F. Scott Fitzgerald's classic American novel. The movie is true to the book, featuring scenes with lots of drinking -- often to excess -- and smoking. There's not too much…

Positive Messages

The film's underlying message is pretty bleak: People, especially privileged people with no perspective, can be rotten. But, in a way, it also celebrates those who continue to hold hope, even in the face of cynicism. There's a conspicuous flaunting of wealth and some discussion about "old" and "new" money.

Positive Role Models

Most everyone behaves in questionable ways in the movie (and the book), but narrator Nick Carraway manages to become the moral center. In the end, he's the one who identifies the callousness that pervades the likes of Tom, Daisy, and their friends.

Violence & Scariness

A man is held by two others while someone else hits him, in a very brief scene. Another character runs over a woman with a car; her body is shown many times hitting the windshield and thudding to the ground. A man is also shown shooting someone from a distance and then putting the same gun in his mouth. A man strikes a woman hard.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A couple is heard moaning from behind closed doors. Married men grope at women who aren't their wives, and infidelity is a big part of the overall plot. Some innuendo. A couple exchanges some passionate kisses and is later shown partially nude (no sensitive body parts shown) in bed, under the covers.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language includes relatively infrequent use of "hell," "damn," "goddamn," "oh my God," "son of a bitch," and some derogatory/racist terms and comments. Songs used on the soundtrack include some stronger words, including "f--k" (infrequent), "s--t," and "d--k."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Tons of drinking. One character is described as "morbidly alcoholic," and characters are shown drinking and driving. Also some smoking (accurate for the movie's time period), and one scene shows a woman popping "mood pills." Though the film frequently portrays partying and drunken debauchery as wildly fun, it also includes the darker aftermath -- the literal and figurative messes that need cleaning up.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that director Baz Luhrmann 's ( Moulin Rouge ) take on The Great Gatsby is a decadent, dizzying version of F. Scott Fitzgerald's classic American novel . The movie is true to the book, featuring scenes with lots of drinking -- often to excess -- and smoking. There's not too much swearing (though some soundtrack song lyrics include infrequent use of "s--t" and "f--k"), but expect some violence (a man punches another, a car hits a woman head-on, and a character shoots another) and sexuality. Couples -- including people married to others -- are shown kissing and in bed (bare shoulders). Leonardo DiCaprio , Tobey Maguire , and Carey Mulligan star; that, plus the movie's hip soundtrack and lush style, are likely to make it very appealing to teens. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Based on 17 parent reviews

I would read the book by my friend Mr. Carraway, old sport.

What's the story.

Set in New York in the lavish Roaring Twenties, this adaptation of F. Scott Fitzgerald's classic THE GREAT GATSBY stars Leonardo DiCaprio as Jay Gatsby, a wealthy, mysterious, self-made man who moves into a Long Island mansion and makes a name for himself by throwing lavish, bacchanalian parties -- all for the singular purpose of winning back the love of his life, Daisy Buchanan ( Carey Mulligan ). Daisy's husband, Tom ( Joel Edgerton ), is oblivious (at first) to it all because he's so preoccupied with his own dalliances. Witness to it all is Gatsby's neighbor, Daisy's cousin, Nick Carraway ( Tobey Maguire ), who plays a part in bringing them together and witnesses a series of events that ultimately reveals the characters' tragic flaws.

Is It Any Good?

Baz Luhrmann is a polarizing director. His cinematic canvasses have sometimes been dismissed for being overstuffed, his take on the classics -- a mix of tradition and overwhelming modernism -- muddled. The same criticisms can be brought to bear on The Great Gatsby . Some scenes explode with so much visual stimulation that watching them feels rapacious and gluttonous -- a perfect strategy for evoking the excesses of the Jazz Age, yes, but also distracting and hard to enjoy. Luhrmann can move too quickly from one overfull scene to the next, too, not giving the audience time to take it all in. And the music -- what happened to the music? The soundtrack is wonderful, but we only hear slivers of most of it, and often not enough for the songs to enhance the movie's vision. Luhrmann used music much more masterfully in Romeo + Juliet , which some may say is a more accomplished adaptation (there, he fully modernized a classic, setting it in present times -- unlike Gatsby , which he keeps in the 1920s).

And yet, Gatsby is still genius, even if so much of what horrified in Fitzgerald's book -- the rottenness of the lot of them -- doesn't have as much resonance in these Facebook-heavy, reality-TV-driven times. For all its flaws, The Great Gatsby is a mind-bending experience. Commit to it fully as its own entity, a re-invention as much as Jay Gatsby himself is, and you'll be transported and affected by the heartbreak of it all, the folly of a man filled with hope but borne back, as Fitzgerald put it, ceaselessly into the past. Aside from the miscasting of Edgerton and Jason Clarke (who plays George), who both overact, the rest of the ensemble is perfect. DiCaprio is as good as he has ever been, distilling Gatsby's striving, hopeful, and ultimately destructive nature into a heartbreaking cocktail. Mulligan may not have as much depth, but she nonetheless makes for a frustratingly appealing Daisy. And Maguire? He makes no false move here, not a single one, proving the perfect witness to the profligate, imprudent ways of Nick's people.

Talk to Your Kids About ...

Families can talk about Gatsby and his commitment to Daisy. Why was it so important for him to be rich? What motivated his behavior?

The movie is a modernized period adaptation of a classic. Does it work? How is it different from more faithful adaptations? Does the modern soundtrack make it more accessible?

Hollywood loves to mine books for material. What's lost and gained in the cinematic translation?

How does the movie portray drinking ? Is it glamorized? Are there realistic consequences?

Movie Details

• In theaters : May 10, 2013
• On DVD or streaming : August 27, 2013
• Cast : Carey Mulligan , Leonardo DiCaprio , Tobey Maguire
• Director : Baz Luhrmann
• Inclusion Information : Female actors
• Studio : Warner Bros.
• Genre : Drama
• Topics : Book Characters
• Run time : 142 minutes
• MPAA rating : PG-13
• MPAA explanation : some violent images, sexual content, smoking, partying and brief language
• Last updated : May 8, 2024

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The Great Gatsby (2000 TV Movie)

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Synopsis by Mark Deming

Characteristics, related movies.

The Great Gatsby Review

01 Jan 1974

144 minutes

Great Gatsby, The

Based on the F. Scott Fitzgerald story and with a screenplay written by Francis Ford Coppola, this is the tale of young millionaire Jay Gatsby, who becomes part of Long Island society in the 1920s. Redford is Gatsby, leader of the social whirl, whose only flaw is that he is in love with the rather married Daisy (Mia Farrow). Aside from this, life is one long party, dripping with champagne, and it all gets rather tedious watching other people enjoy themselves, although a colourful recreation of the period that stays faithful to the novel makes the film easier to bear. Look out for Patsy Kensit in her first film role as Mia Farrow’s daughter.

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The Great Gatsby Review

Love it or hate it, Gatsby throws the wildest party in town...old sport.

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4.5 out of 5

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David Crow is the movies editor at Den of Geek. He has long been proud of his geek credentials. Raised on cinema classics that ranged from…

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The Great Gatsby Movie Review

Baz Luhrmann may be the last guy in the world who needs to make a movie in 3-D. In previous films like Romeo + Juliet , Australia , and especially Moulin Rouge! , the whirling-dervish director has turned the screen into a mad circus of razzle-dazzle fireworks. Restraint isn’t his strong suit. Then again, it wasn’t a strong suit of the Roaring ’20s, either. Maybe that’s why Luhrmann piles on the Roman-candle flash for his manic adaptation of F. Scott Fitzgerald’s Jazz Age classic.

Most famously, Hollywood put its mitts on The Great Gatsby in 1974, when Robert Redford and Mia Farrow turned the champagne-soaked love story into a stately, snoozy Harlequin romance. Luhrmann goes to the other extreme, transforming the high school reading-list perennial into an ADHD workout — at least for the first half of the film. Plotwise, Luhrmann and co-writer Craig Pearce stick pretty close to the novel. The only real jackknife is a framing device that has narrator Nick Carraway (Tobey Maguire) retelling the tipsy events of the summer of 1922 in flashback from a sanitarium, where he’s recovering from a debauched season in the sun in Long Island’s nouveau-riche West Egg.

The main story kicks off after Nick leaves the Midwest and heads east to stake his claim on Wall Street, where postwar exuberance runs full tilt. ”The tempo of the city had changed,” Maguire says in a voice-over. ”The buildings were higher, the parties were bigger, the morals were looser, and the liquor was cheaper.” Nick’s cousin Daisy Buchanan (Carey Mulligan) and her husband, Tom (Joel Edgerton), a former Yale classmate of Nick’s, live across the bay from his modest summer rental in old-money East Egg. Meanwhile, next door to Nick in West Egg is an opulent pleasure palace where dandies in straw hats and party girls in beaded frocks drink and dance around the clock. It’s here that Nick makes the acquaintance of the movable feast’s mysterious and fabulously wealthy host, Jay Gatsby (Leonardo DiCaprio). Gatsby makes sure the glasses stay filled, but he stands in the shadows at a quiet remove. He’s got something else on his mind: Daisy. Five years earlier, Gatsby fell madly in love with her. He was a young, penniless soldier heading off to war, and Daisy was a ”golden girl” from a prominent Louisville family. Convinced he had to make his fortune before he deserved her, he vanished. But he never got over her. Now he intends to woo Daisy back, with Nick’s help.

That may sound like a lot of setup, but Luhrmann zips through the high-society swirl with frenzied montages, spinning newspaper headlines, and Cirque du Soleil-style party scenes where flappers on trapezes (thanks to the film’s 3-D) seem to swing right into your lap and DJs spin 21st-century hip-hop tracks. At first, these anachronistic bacchanals are intoxicatingly strange. But eventually they just seem insane. You half expect a chorus line of Oompa Loompas to high-step on screen with Beyoncé. Thankfully, Luhrmann does settle down after Gatsby and Daisy secretly meet and rekindle their romance. Still, for the most part, the actors never sync up with Luhrmann’s jitterbug rhythm. Maguire, now 37, seems too old to be the naive bumpkin narrator the movie wants him to be. And Mulligan’s poor little rich girl Daisy isn’t given a lot to do besides pout, swoon, and grouse about the heat. You never understand why Gatsby would be so obsessed with her. Like Redford, DiCaprio has a smooth, sun-kissed charisma as Gatsby, calling Nick ”old sport” in a clubby drawl. But it’s Edgerton, as the boisterous bully Tom, who commands the audience’s attention. Behind his Douglas Fairbanks pencil mustache and backslapping Ivy League hauteur lies the film’s most nuanced performance.

I suspect it’s been a while since most folks have cracked open a copy of Fitzgerald’s novel, so I won’t spoil the ending, other than to say that like the giddy period it chronicles, the fizzy high comes with an inevitable crash. There’s a reason The Great Gatsby continues to be taught in classrooms nearly 90 years after it was written. It’s a dazzling time capsule of a shimmering era and a devastating look into the dark side of the American dream. Too bad Luhrmann, the caffeinated conductor, doesn’t trust that story enough. He’d rather blast your retinas into sugar-shock submission. Uncle, old sport! Uncle! B-

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Baz Luhrmann's adaptation of "The Great Gatsby" isn't a disaster. Every frame is sincere. Its miscalculations come from a wish to avoid embalming a classic novel in "respectfulness" — a worthy goal, in theory. It boasts the third most imaginative use of 3D I've seen recently, after "U2 3D" and " Hugo ." It's a technological and aesthetic lab that has four or five experiments cooking in each scene. Even when the movie's not working, its style fascinates. 

That "not working" part is a deal breaker, though — and it has little to do with Luhrmann's stylistic gambits, and everything to do with his inability to reconcile them with an urge to play things straight.

If you've seen Lurhmann's " Strictly Ballroom ," " Romeo + Juliet " or " Moulin Rouge ," or watched "Gatsby" trailers, you know what you're in for: an epic melodrama that fuses old-movie theatrics and subjective filmmaking, period music and modern pop, real sets and unreal landscapes, psychological drama and speeded-up slapstick.

We see the book's Prohibition-era settings (East Egg and West Egg, New York City, and the sooty wasteland in between) through the eyes of the narrator, Nick Carraway ( Tobey Maguire ), who's writing a memoir-confession from an asylum. This framing device is inferred from statements Fitzgerald made in "The Crack-Up," and "Gatsby" often refers to itself as a book, so even though it isn't officially part of the source, it's hardly a blasphemous indulgence; still, it's one more buffer between viewer and story in a movie that already has more than its share.

All this busywork might astonish if Lurhmann's heart were in it—but is it? The guests at Gatsby's party are too obviously directed, and there's no sense of escalation in the gatherings. From frame one, they're Dionysian whirls of booze, lust and hero worship, minus the sense that that things are ebbing and flowing as they would at a real party. The CGI-assisted camera acrobatics feel obligatory. So do the anachronistic soundtrack mash-ups (modern hip-hop layered over ragtime piano and the like).

But in the film's dark second half, "The Great Gatsby" half-forgets its mandate to wow us and zeroes in on actors in rooms. Once that happens, the Luhrmannerisms distract from the film's true heart: the actions and feelings of its characters. Luhrmann didn't set out to make a PBS-style, bare-bones adaptation, but there are times when it feels as though he secretly wants to. 

Once you get past the movie's opening eruptions of visual excess — hundreds of party guests boozing and hollering and doing the Charleston; CGI cityscapes that visualize 1920s New York by way of Warren Beatty's candy-colored " Dick Tracy "; a long expository talk between Gatsby and Nick in a careening computer-buffed roadster that moves as believably as the talking cab in " Who Framed Roger Rabbit " — "The Great Gatsby" settles into a traditional groove: scene, scene, montage, scene, burst of violence, moment of reflection. The movie wants to be a "kaleidoscopic carnival," to quote a phrase from the book's description of a Jay Gatsby party, but Luhrmann's instincts seem more traditional, even square, and the two impulses cancel each out. Once you've spent time with his cast, you understand why he was torn.

DiCaprio's Gatsby is the movie's greatest and simplest special effect: an illusion conjured mainly through body language and voice. On the page, the character is so mysterious, so much a projection of the book's narrator, that you'd think he'd be as unplayable onscreen as Kurtz or John Galt; he eluded Alan Ladd and Robert Redford , the role's previous inhabitants. And yet DiCaprio makes him comprehensible and achingly real. The actor's choices drive home the idea that Gatsby is playing the man he wishes he were, and that others need him to be. We see the calculations behind his eyes, but we also believe that he could hide them from the other characters — most of them, anyway.

DiCaprio's acting evokes Nick's description of the human personality as "an unbroken series of successful gestures." Luhrmann cuts some scenes to make it seem as if the character really is omniscient — as if he can see and hear for miles and read people's thoughts and feelings — and DiCaprio plays these moments with a mix of inscrutability and delight, as if Gatsby knows something we don't, but is too clever to say precisely what. (He could play Superman.) When Gatsby's deceptions are revealed and his illusions shattered, DiCaprio becomes at once terrifying and pathetic, a false idol toppling himself from his pedestal. In his final moment of realization, DiCaprio's blue eyes match the blue of Gatsby's pool, and his anguished face, framed in tight close-up, has a ghastly beauty. This is an iconic performance — maybe his career best.

The rest of the cast is nearly as impressive. Nick Carraway is almost as much of an abstraction as Gatsby — an audience surrogate, with touches of The Nice Guy Betrayed — but Maguire humanizes him, just as DiCaprio does Gatsby. It helps that he's played so many wry blank-slate types, but there's something else going on in his performance besides familiar notes — something deeper and sadder. 

Carey Mulligan is physically and vocally right for Daisy Buchanan — when she flirts, the famous description of the character having "a voice like money" nearly makes sense — but the film doesn't idealize her, as Gatsby and Nick often seem to. There's a contradictory, complicated person there. She's matched — appropriately overmatched, really — by Joel Edgerton's Tom. The actor suits the book's description of the character as "hulking" and projects the jovial arrogance of a thug impersonating a cultured man with money; he's scary but life-sized, and always comprehensible. The small roles are well cast, too, with Elizabeth Debicki's Jordan Baker as a standout. The director is genuinely interested in his actors' performances, and in the characters' psyches. When the tale's simmering resentments detonate (notably in a scene near the end that takes pretty big liberties with the book) the result is a more powerful experience than crowd scenes and CGI panoramas can deliver. 

There were times when I wished Luhrmann had made a smaller, squarer adaptation, because he seems to have the talent for it; I never would have imagined saying such a thing after seeing his other films, which have their merits but are hardly standard-bearers for subtlety. Alas, this "Gatsby" is so immense and overwrought — lumbering across the screen like the biggest, trashiest, loudest parade float of all time — that its intimacies feel like shared secrets between the director and the viewer. The movie's like a guest at a wild gathering who finds the frenzy tiresome and would rather be at home reading, but can't let on because he's supposed to be the life of the party.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

The Great Gatsby (2013)

Rated PG-13 for some violent images, sexual content, smoking, partying and brief language.

143 minutes

Leonardo DiCaprio as Jay Gatsby

Carey Mulligan as Daisy Buchanan

Isla Fisher as Myrtle Wilson

Tobey Maguire as Nick Carraway

Joel Edgerton as Tom Buchanan

• Baz Luhrmann

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Movie Reviews

'gatsby's' jazz-age excess, all over the screen.

Keith Phipps

A 'Great Gatsby'? Leonardo DiCaprio suits up to play the mysterious, magnetic title character in Baz Luhrmann's exuberantly turbulent film adaptation of the F. Scott Fitzgerald novel. Warner Bros. Pictures hide caption

The Great Gatsby

• Director: Baz Luhrmann
• Genre: Drama
• Running Time: 143 minutes

Rated PG-13 for some violent images, sexual content, smoking, partying and brief language.

With: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher

Watch Clips

'You Must Know Gatsby'

Credit: Warner Bros. Pictures

'Who Is This Gatsby?'

'It's Not Coincidence'

'All From Your Imagination'

'She Never Loved You'

If anyone could pull off a multiplex-friendly adaptation of F. Scott Fitzgerald's The Great Gatsby — a film treatment that might be capable of stepping out of the long shadow cast by the book — it's Baz Luhrmann, right? The Australian director who dragged Shakespeare's star-crossed lovers into the music-video-shaken, bullet-ridden '90s with Romeo + Juliet and compressed a century's worth of pop music and melodrama into the glorious Moulin Rouge?

In fact Luhrmann is least interesting when most restrained, as in the relatively stodgy Australia . And every breathlessly reported aspect of his Gatsby — from the choice to re-create '20s New York in Australia, to the decision to shoot in 3-D, to the incorporation of Jay-Z-approved hip-hop and R&B — suggests he has opted not to rein in the excessive impulses that have served him well in the past.

The film itself turns out to be an unapologetically garish riot of color and costumery parading before a restless camera, and for a while Luhrmann's go-for-broke impulses serve him well. Where too many directors seem at a loss to turn 3-D to advantage, Luhrmann uses it aggressively, plunging viewers into Fitzgerald's Jazz Age metropolis and realizing opulently decorated homes, bustling streets and an even more bustling underworld with equal care.

In the film's first act he turns the innocence-corroding journey of new-to-town narrator Nick Carraway (Tobey Maguire, convincing as a wide-eyed innocent even as he advances well beyond Peter Parker age) into a mad rush of discovery. It will climax, of course, in that riotous party at the mansion of Nick's mysterious, nouveau riche neighbor J. Gatsby, a man much spoken of in the early going but little seen.

When Luhrmann finally reveals the title character, he does so as assorted partygoers work themselves into a frenzy, Rhapsody in Blue pounds on the soundtrack and fireworks explode in the sky. It's a glorious bit of moviemaking that doubles as a master class in the fine art of going effectively over the top. Unfortunately, the film is never again as successful; from here on, it has to dig into the bothersome business of telling Fitzgerald's story.

Loving 'Gatsby' Too Much And Not Enough

That's not the fault of the actors. Leonardo DiCaprio makes for a fine Gatsby, hiding behind the smile of a man who has set his world in order, letting the smile slip when he thinks no one can see him. He uses charm, graciousness and carefully practiced mannerism as bludgeon and shield as he defends the place he has carved out in a world hostile to dreamers, strivers and self-inventing social climbers.

As Tom Buchanan, Joel Edgerton plays his polar opposite, bringing a threatening physicality to the part of an entitled bully so secure about his place in the world as to believe, it would seem justifiably, that he can get away with virtually any kind of bad behavior. Only Carey Mulligan struggles, in the role of Daisy, the woman torn between the two men; a cipher on the page, she's not easily rendered as flesh and blood on the screen, even by an actress of Mulligan's skill.

Under the watchful gaze of intrigued Midwesterner Nick Carraway (Tobey Maguire, left) and seething old-money scion Tom Buchanan (Joel Edgerton), Gatsby pays court to Tom's fascinated wife, Daisy (Carey Mulligan). Your local English major can tell you how that works out. Warner Bros. Pictures hide caption

Under the watchful gaze of intrigued Midwesterner Nick Carraway (Tobey Maguire, left) and seething old-money scion Tom Buchanan (Joel Edgerton), Gatsby pays court to Tom's fascinated wife, Daisy (Carey Mulligan). Your local English major can tell you how that works out.

Luhrmann takes great care with the rhythms of individual scenes, yet the film as a whole plays like a long trudge through a familiar story. Though largely faithful, the adaptation's greatest liberty is a framing device that finds Nick composing a confessional account of his time with Gatbsy while being treated for alcoholism at a sanitarium. It's a nod to Fitzgerald's own life, and it allows for large chunks of the novel to make it to the screen. It also gives the film a moralistic streak whose explicitness is alien to the source material; that nakedness underscores the gaps between the power of Fitzgerald's prose and that of Luhrmann's imagery, however eye-catching.

There's a bit of Gatsby himself, come to think of it, in Luhrmann's filmmaking. As if insecure of his standing, he keeps trying to dazzle, even when the focus might be better placed on the emotions of the scene. (As Gatsby confronts Tom toward the end of the film, the camera steps behind the blades of a fan as swooping noises fill the soundtrack, presumably in case anyone was getting bored with all that heated dialogue.)

Consequently, the material never gets a moment to breathe. For all the filmmaking skill on display, this Great Gatsby often feels more like a conceptual exercise than a thought-through take on the material. As the execution of an audacious concept, it's an impressive effort; as an attempt to distill the spirit of Fitzgerald's novel, it's a near-total failure. Luhrmann renders the green light on the Buchanans' dock with retina-searing vividness, but he never comes close to capturing its fatal allure.

Film Review: ‘The Great Gatsby’

By Scott Foundas

Scott Foundas

• Film Review: ‘Black Mass’ 9 years ago
• Film Review: ‘The Runner’ 9 years ago
• Film Review: ‘Straight Outta Compton’ 9 years ago

It don’t mean a thing if it ain’t got that bling in Baz Luhrmann ’s “ The Great Gatsby ,” which arrives six months after its originally scheduled December release date but maintains something of a gussied-up holiday feel, like the Macy’s Thanksgiving Day Parade as staged by Liberace . Indeed, it comes as little surprise that the Aussie auteur behind the gaudy, more-is-more spectacles “ Moulin Rouge ” and “Australia” has delivered a “Gatsby” less in the spirit of F. Scott Fitzgerald ’s novel than in that of its eponymous antihero — a man who believes bejeweled excess will help him win the heart of the one thing his money can’t buy. Cinema audiences can prove as fickle and elusive as Daisy Buchanan, too, but it’s a fair bet that a starry cast (and soundtrack) and sheer curiosity value will power this Warner/Roadshow co-production to career-best box office numbers for Luhrmann (a record currently held by “Australia,” at $211 million), if not quite enough to justify its supposed $127 million budget.

Like the blinking green beacon at the end of Daisy’s dock — so close and yet so far — Fitzgerald’s masterpiece of American letters has been a siren call for filmmakers ever since it was published in 1925. The first, silent screen adaptation arrived just one year later (and is now, like so many films of that era, believed lost), with subsequent versions following in 1949 (reconfigured into a film noir), 1974 (the best-known, with Robert Redford and Mia Farrow) and for cable TV in 2000. Rarely included in official “Gatsby” inventories, 2002’s quite curious “G” found an analog for Fitzgerald’s Jazz Age in the world of contemporary music’s hip-hop elite, long before Luhrmann saw fit to enlist Shawn “Jay-Z” Carter as a collaborator on his film’s cheerfully anachronistic soundtrack. But no one has yet cracked “Gatsby” on film as ingeniously as the theater company Elevator Repair Service did in its 2010 stage adaptation, “ Gatz ,” built around one actor’s unabridged, cover-to-cover recitation of the novel.

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It is often said that great books make for inferior films and vice versa, but there is something particular about “Gatsby” that seems to defy the screen. Transformed into voiceover, the running first-person narration of Nick Carraway (here played by Tobey Maguire ) turns stilted and dry (presumably a problem the silent version avoided). Scrutinized by the camera’s gaze, Fitzgerald’s beautifully deployed symbols and signifiers become leaden with portent: the green light, the yellow roadster, the mountain of custom-tailored shirts, the unused swimming pool and the ever-watchful eyes staring out from the billboard of an enterprising Queens oculist. With Luhrmann at the helm, those devices loom larger and more literal than ever, until they come to resemble the towering monoliths of “2001.”

Of course, to accuse Luhrmann (who also co-wrote the screenplay with frequent collaborator Craig Pearce ) of overkill is a bit like faulting a leopard for his spots. Love it or hate it, take it or leave it, this is unmistakably his “Gatsby” through and through, and as with all such carte-blanche extravaganzas (increasingly rare in this cautious Hollywood age), it exudes an undeniable fascination — at least for a while. In the notes for his unfinished final novel, “The Last Tycoon,” Fitzgerald famously wrote, “action is character,” but for Luhrmann action is production design, hairstyling, Prada gowns and sweeping, swirling, CGI-enhanced camera movements that offer more bird’s-eye views of Long Island (actually the Fox Studios in Sydney) than “The Hobbit” did of Middle-earth. Arguably, the movie reaches its orgiastic peak 30 minutes in, with the first full reveal of Gatsby himself (Leonardo DiCaprio ), accompanied by an explosion of fireworks and the eruption of Gershwin on the soundtrack. Where, really, can one go from there?

PHOTOS: ‘ The Great Gatsby’ Premiere: Film Opens in New York

But oh, how Luhrmann tries. Together with cinematographer Simon Duggan, he unleashes every manipulation he can think of — sepia flashbacks, smash zooms, split screens, superimpositions, period newsreel footage, new footage degraded to resemble period newsreel footage — all of it coming at you in three steroscopic dimensions. Only occasionally does the style seem like an actual response to the text rather than a visual circus operating independently of it. In one of the pic’s more striking passages, Carraway’s famous observation that he feels at once “within and without, simultaneously enchanted and repelled” becomes a lyrical mosaic of shared New York experience. Less effectively, Luhrmann has complete sentences from the novel appear typed out on the screen — a gimmick explained by a framing device that situates Carraway in a sanitarium, recounting the tale of Gatsby to a captivated shrink (Jack Thompson) who encourages him to write the story down.

What Luhrmann grasps even less than previous adapters of the tale is that Fitzgerald was, via his surrogate Carraway, offering an eyewitness account of the decline of the American empire, not an invitation to the ball. But Luhrmann identifies far more strongly with Gatsby than he does with Nick, and instead of a tragic figure undone by his false optimism and unrequited yearning, the character becomes an object of envy  —someone whose swank mansion and runway couture would be awfully nice to call one’s own. So the champagne flows like monsoon rain and the wild parties roar. Who cares if you’re doomed to meet an untimely end, so long as you go out looking fabulous?

Everyone does look the part in this “Gatsby,” not least DiCaprio and Carey Mulligan (as Daisy), though in the years since his innovative, modern-dress “Romeo + Juliet,” where style still sat in something like equal balance with substance, Luhrmann has become less interested in performances than in artful poses. Periodically, as if by accident, something like real emotion pokes up through the film’s well-manicured surface, as when Gatsby recounts his first meeting with Daisy, his face lighting up with the childlike hope that so entrances Nick about him. More often, “Gatsby” feels like a well-rehearsed classic in which the actors say their lines ably, but with no discernible feeling behind them. By far the liveliest work in the film comes from two actors with only a few minutes of screen time between them: the lithe, long-limbed newcomer Elizabeth Debicki as gabby golf pro Jordan Baker, and, in a single scene that marks his belated Hollywood debut, Bollywood superstar Amitabh Bachchan as the flamboyant Jewish “gambler,” Meyer Wolfsheim.

Among the uniformly accomplished technical contributions, Luhrmann’s producer wife, Catherine Martin (already a double Oscar winner for “Moulin Rouge”) once again stands out for her production and costume design.

Movie Stills:

Reviewed at Warner Bros. screening room, New York, April 30, 2013. (In Cannes Film Festival — opener, noncompeting.) MPAA Rating: PG-13. Running time: 141 MIN.

• Production: A Warner Bros. release presented in association with Village Roadshow Pictures and A&E Television of a Bazmark/Red Wagon Entertainment production. Produced by Baz Luhrmann, Catherine Martin, Douglas Wick, Lucy Fisher, Catherine Knapman. Executive producers, Barrie M. Osborne, Bruce Berman, Shawn “Jay-Z” Carter. Co-producer, Anton Monsted.
• Crew: Directed by Baz Luhrmann. Screenplay, Luhrmann, Craig Pearce, based on the novel by F. Scott Fitzgerald. Camera (color, widescreen, Red Digital Cinema, 3D), Simon Duggan; editors, Matt Villa, Jason Ballantine, Jonathan Redmond; music, Craig Armstrong; executive music supervisor, Anton Monsted; production designer, Catherine Martin; supervising art director, Ian Gracie; art directors, Damien Drew, Michael Turner; set decorator, Beverly Dunn; costume designer, Martin; sound (Dolby Digital/Datasat/SDDS), Guntis Sics; sound designer/supervising sound editor, Wayne Pashley; re-recording mixers, Steve Maslow, Phil Heywood, Pashley; visual effects supervisor, Chris Godfrey; visual effects producer, Joyce Cox; visual effects, Animal Logic, Prime Focus, Rising Sun Pictures, Iloura, Industrial Light & Magic, Method Studios; stunt coordinator, Glenn Ruehland; assistant director, Jennifer Leacey; casting, Ronna Kress, Nikki Barrett.
• With: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher, Jason Clarke, Elizabeth Debicki, Jack Thompson, Amitabh Bachchan.

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Book Guides

If you've looked up The Great Gatsby movie, you've probably realized that there is more than one. So which of The Great Gatsby movies you should watch? Wondering if you can skip reading the book?

We have a complete guide to each of the Great Gatsby movie adaptations, as well as some advice for writing about the movies!

The Great Gatsby Movies 101

Gatsby has had four film adaptations, with two especially big-budget, well-known movies: the 1974 version starring Robert Redford and the 2013 film with Leonardo DiCaprio. There was also a silent film adaptation made in 1926, just one year after the novel came out , but that film has been lost, with only a one-minute trailer that survives to attest to its existence.

Some elements of the film adaptations have strongly influenced people's vision and understanding of the novel, but there isn't one "best" Great Gatsby movie or one best Great Gatsby cast, or even one movie that has fully captured the spirit of the novel . (Compare this with To Kill a Mockingbird , which has just one major film adaptation that many consider not only worthy of the book, but also to be one of the best movies of all time.)

So, to be clear: none of the Great Gatsby movies can replace the experience of reading the novel . And there isn't even one obvious choice for the best adaptation to watch!

However, watching one (or, if you're ambitious, all!) of the adaptations in addition to reading the book can help you visualize the characters, recognize the sheer grandeur of Gatsby's parties, and appreciate some of the larger themes of the book. Here are a few pros and cons to watching a Great Gatsby film.

Advantages of Watching the Great Gatsby Movies

Great performances. Although spread across the four different movies, each of the main characters in Gatsby gets at least one stellar performance, from Alan Ladd's Jay Gatsby to Sam Waterston's Nick Carraway to Elizabeth Debicki's Jordan. Watching the actors bring these characters to life can help you appreciate these characters' best lines, motivations, and outcomes. This can, in turn, help you write better essays about The Great Gatsby !

Stunning visuals. Gatsby is often praised for its straightforward, descriptive writing, but it can be nice to see a filmmaker's vision of, say, one of Jay Gatsby's extravagant parties rather than just imagining the orchestra, the drinks, and the partygoers, in your head. Not only does this help you appreciate the incredible decadence of the 1920s, and specifically the wealthy characters in the novel, it can also help you appreciate a visual detail you may have missed on your first read-through of the book.

Appreciation of the key lines. When you're reading a book to yourself, sometimes you may find yourself skimming over a line or passage that actually contains a really important piece of dialogue or characterization. Watching a movie adaptation, and hearing the lines the screenwriter chose to adapt and highlight, can help you catch and appreciate some of Gatsby 's most iconic phrases.

Reasons to Avoid Watching Any of These Movies

Time commitment.

You're going to have to budget at least an hour and a half, but likely more, if you want to watch a Gatsby movie. The runtimes for each of the movies is as follows:

• 1949 Version—91 Minutes
• 1974 Version—149 minutes
• 2000 Version—90 minutes
• 2013 Version—142 minutes

Especially with the incredibly busy schedules many students have these days, it could be hard to find the time to devote two and a half hours to watching a Gatsby movie, on top of the time it takes to read the book.

Also, keep in mind the book is relatively short—in the time it takes to watch one of the movies you could easily read at least half of the book.

Inaccuracies and Deviations From the Novel

Obviously, no movie can perfectly adapt a book, so everything from small details (like Daisy's hair color) to large plot events (like Tom blatantly telling George that Gatsby is the killer in the 2013 film) can be changed. This could be a problem if you mix up a scene that occurred only in one of the movies with something from the book when working on an assignment.

Mistaking the Director's Vision for Fitzgerald's

With any film, the director (along with the screenwriter, cinematographer, actors, and the rest of the crew) has a certain version or message that she brings to life. This can get a bit complicated in book adaptations, since a book—especially one as rich and layered as Gatsby—can contain a variety of messages and themes, but a director might choose to highlight just one or two.

As a brief example, the 1949 movie emphasizes Gatsby's criminal enterprises and can almost read like a morality tale. But the 2013 movie puts Gatsby and Daisy's failed love affair front and center.

The potential issue with this is that if you watch just one movie, and skip the book, you could totally miss a larger theme that the book clearly shows, like the false hope of the American Dream, contentious race relations in the 1920s, or the inability to truly recapture the past. In short, make sure you understand that while a movie has to focus on just one or two themes to be coherent, a book can present many more, and you definitely have to read Gatsby to understand the various themes it touches on.

With those pros and cons in mind, you can read on to learn more about each film adaptation to decide if you want to watch one (or all of them!).

After the summaries, we'll have some advice for writing about the movies, which is an increasingly common assignment in English/Language Arts classes!

The Great Gatsby (1949)

The first big adaptation of The Great G atsby came in 1949, just as the book was becoming more popular (but before it had really settled in as classic American novel ). So this movie, made by Paramount Pictures, is not very high budget and mainly relies on the star power of Alan Ladd as Gatsby to sell the film.

Perhaps the studio was right to lean on Ladd, because it turns out that Ladd's performance is the main aspect of this adaptation worth watching . He brings an incredibly layered performance of Gatsby in a performance that's, unfortunately, much better than the movie around him.

This film isn't as accurate to the book's plot as later adaptations—it focuses more on Gatsby's criminal enterprises, makes Jordan more significant, and ends with Nick and Jordan married. It's also lower budget than the later productions and has more of a film noir feel .

Plus, the other actors, particularly Betty Field as Daisy, aren't nearly as good as the lead, making the overall cast weaker than later productions. (Though Shelley Winters is fantastic as Myrtle.)

This film is also harder to find since it's older and not readily available on streaming services like Netflix. Your best bet would be checking out a few clips on YouTube, tracking down a DVD copy at a local library, or purchasing it on Amazon.

Basically, this film is worth finding if you want an excellent visualization of Gatsby himself but aren't as worried about the surrounding production or other characters and/or you like old movies and film noir. But for most students, one of the later adaptations will likely be a better choice.

The Great Gatsby (1974)

The 1974 version of The Great Gatsby (sometimes referred to as the "Robert Redford Great Gatsby ") was Hollywood's second attempt at adapting the novel, and by all accounts everyone involved was working a lot harder to do the book justice. It had a really large budget, brought in Francis Ford Coppola to adapt the screenplay, and cast big name actors like Robert Redford and Mia Farrow. The costumes and sets are stunning.

However, some critics noted the expensive scenery somewhat takes away from some of the authenticity of the book —for example, in the scene where Daisy and Gatsby reunite, the weather is sunny instead of rainy, presumably because the rain would have ruined the costumes.

Despite these blips, Coppola's screenplay is much more loyal to the book's plot than the 1949 version. However, the movie fails to channel the energy and passion of the novel, and so can fall flat or even become dull.

Redford received mixed reviews for his performance. He crafts two characters—the suave Jay Gatsby and the hardscrabble Jay Gatz—which some reviewers like and others find a bit heavy-handed. (It's much less subtle than Ladd's performance, in my opinion.)

Sam Waterston is great as Nick Carraway . He captures a lot of Nick's naïveté and optimism, but isn't given as much to do as more recent versions of the character. Mia Farrow's portrayal of Daisy has become our culture's image of this character, despite her blonde hair and waifish figure. (In the book, Daisy is described as having dark hair, and was meant to resemble Ginevra King and Zelda Sayre ).

All in all, this is a mostly faithful adaptation of the book with beautiful sets, costumes, and some good performances. Especially compared to the more raucous 2013 version, this is probably the closest movie we have to a page-to-screen adaptation of Gatsby . The downside is that it's somewhat low energy, and lacks a lot of the zip and wit of the novel .

This version is available on Netflix streaming, so if you have a Netflix account, it's really easy to watch.

The Great Gatsby (2000)

This movie is decently accurate, but because of its shorter run time, there are some cuts to the plot. It also has a few odd additions, like Daisy coming up with the name "Gatsby" instead of Gatsby himself.

Paul Rudd as Carraway and Mira Sorvino as Daisy were mostly considered good casting choices, but the Gatsby here (Toby Stephens) wasn't great—rather lifeless and unenthusiastic. I also didn't love Jordan, especially compared to Elizabeth Debicki's Jordan in the 2013 film. Heather Goldenhersh's Myrtle is an interesting take, as well—she's more meek and pitiable than other Myrtles (especially Shelley Winters and Isla Fisher), which is a bit strange but I think it makes for a more sympathetic character.

This film also has much lower production values since it was made for TV, so it doesn't have the escapist feel of either the Redford or Luhrmann films. (The party scenes are especially sparse.)

I would consider watching this if you want a film mostly accurate to the book that also moves along more quickly, since it has a shorter run time. It's also a good choice if you want to see some great characterizations of Nick and Daisy.

Teachers, this might be a good choice if you want to show a version of the film in class but don't have two and a half hours to spend on the 1974 or 2013 versions.

The Great Gatsby (2013)

This one is likely the Gatsby movie you are most familiar with. Directed by Baz Luhrmann, this Gatsby has the eye-popping visuals, dancing scenes, high energy and big production values his movies are known for. In other words, this 2013 adaptation has all of the energy and enthusiasm the previous two adaptations were lacking .

However, there are some pretty big plot diversions here. For example, the movie uses a completely different frame—Nick is a bitter, institutionalized alcoholic looking back at the summer he spent with Gatsby, rather than just a disenchanted former bond salesman like in the novel. Also, Tom Buchanan is much more overtly villainous, since we see him bluntly telling George that Gatsby was the killer and the man sleeping with Myrtle.

A lot of the imagery is also quite over the top. For example, the scene in Chapter 1 where Daisy and Jordan are introduced, lying in white dresses while white curtains blow around them, is faithfully but subtly done in the 1974 and 2000 films. But in the Luhrmann movie, the CGI curtains stretch all the way across the room, and we get 15 seconds of Daisy and Jordan giggling while Tobey Maguire's Nick looks on, bemused.

Still, despite the plot diversions and sometimes heavy-handed imagery, many praised Leo DiCaprio and Carey Mulligan's turns as Gatsby and Daisy, respectively. Jordan, played by Elizabeth Debicki, is also fantastic—arguably the best on film so far . Instead of fading into the background of scenes, Debicki's Jordan is energetic and engaged, enlivening all of the scenes she's in.

The 2013 movie is good to watch if you want an extra high-powered version of the Jazz Age extravagance and are curious about a more artistic adaptation of the novel.

Comparing the Great Gatsby Movies to the Novel

One increasingly popular assignment on The Great Gatsby is to compare the book with one of the movie adaptations. This can be a fun assignment to work on, since you get to write about both the book and a movie version of Gatsby . But some students struggle with it, since it can be tricky to incorporate an analysis of both the book and a movie into your paper.

Here are some pro tips for constructing this kind of essay.

Have an overall argument or point you're trying to prove, and make it manageable! Don't try to compare the entire movie to the entire book. Instead, zoom in on a particular aspect, like comparing Daisy Buchanan in the book to Daisy in the movie, or look at just a few of the symbols. For example, if you're asked to write about how symbols are adapted in the movie, don't go through every symbol you can think of. Instead, you could focus on your paper on the green light or the eyes of Doctor T.J. Eckleburg , and really look at your chosen symbol in detail.

Make sure to use specific lines, scenes, or shots to back up your argument. In your English classes, you've probably learned about using evidence from the book as evidence for your essays. It turns out, you can do the same with movies! Even better, you have a wider variety of evidence to choose from.

You can talk about a specific shot of the film, and how it's composed (basically where the actors and objects are arranged in the shot). You can also talk about lines from the script, or the order of scenes. Just make sure to point to specific, concrete evidence! (Don't say: Carey Mulligan's Daisy is flighty. Do say: Carey Mulligan's performance in the flashback scene demonstrates more raw, intense emotion than apparent in the book, revealing Baz Luhrmann's tendency to overdraw emotion.)

Don't just make a list of plot differences between the book and the movie. Just listing the plot differences won't allow you to do any deep analysis of the director's vision for their film and how it's different from the novel.

Movie Essay Example

As a brief example, let's look at how one of Gatsby's most famous symbols, the green light at the end of the Buchanans' dock , is shown in two of the movies and what it shows about the directors' visions.

In the 1974 film, the green light is very simply rendered—it's quite literally a small green light at the end of Tom and Daisy's dock:

Director Jack Clayton doesn't linger on it, and at the end of the film you just get a small glimpse of it before the final fade to black. Its significance, I would argue, is even more underplayed than in the novel. The treatment of the green light echoes how Clayton goes for a subtle, even elegant, treatment of the novel, focusing on the interactions between the characters rather than the symbolism.

But in the 2013 film, the green light shows up often, and Luhrmann uses CGI and sound effects to underscore its significance (check out how it's used in the last scene ). Luhrmann's overwrought rendering of the green light speaks to how he strongly stresses the novel's most famous visuals , in an effort to bring the image of the novel to light. Unfortunately, this comes at the expense of some of the character relationships and fidelity to the book's plot.

This is just the beginning of what could be a longer analysis of the symbols in the movies, but you can see how even zooming in on just one symbol can give you quite a bit to talk about.

Other Notable Films

If you're really getting into all things F. Scott Fitzgerald, you might also consider watching these three films for fun:

• G , which came out in 2002 and is a loose adaptation of Gatsby . In the film, Gatsby is Summer G, a hip-hop mogul trying to win back the love of his life, Sky. The film opened to generally poor reviews, but you can't deny it's a really creative take on Gatsby, and it has attracted a small but loyal following online.
• Midnight in Paris briefly shows Scott and Zelda Fitzgerald during their time in Paris, as portrayed by Tom Hiddleston and Allison Pill. This is a fun, if fictional, glimpse into F. Scott's life as he was writing Gatsby .
• The Curious Case of Benjamin Button , a recent film starring Brad Pitt, is based on an F. Scott Fitzgerald short story.

What's Next?

Looking to bring Gatsby into your life via outfits, candles, or other accoutrements? Check out our list of 15 must-have Great Gatsby accessories for ideas .

Read through our biography of F. Scott Fitzgerald to learn more about where and how The Great Gatsby was written.

Dive into the novel's beginning with our guides to Gatsby 's title , its opening pages and epigraph , and the first chapter . Or, start with a summary of The Great Gatsby , along with links to all our great articles analyzing this novel!

Need a hand with analyzing other works of literature? Check out our analyses of The Crucible , The Cask of Amontillado , and " Do not go gentle into that good night ."

Anna scored in the 99th percentile on her SATs in high school, and went on to major in English at Princeton and to get her doctorate in English Literature at Columbia. She is passionate about improving student access to higher education.

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Baz Luhrmann's The Great Gatsby Is a Masterpiece

I don't mean to deny the cheapness of the film, or its obvious pandering sentimentality. The Gatsby plot is framed by an appalling bit of business in which the narrator, Nick Carraway, is holed up in a sanitarium for recovering alcoholics, and writes his story as a kind of personal expiation, a healing exercise. Not only is it a gag-producing cliché, it's also the opposite of the actual conditions under which Fitzgerald wrote Gatsby . He finished the manuscript in Cannes, while his wife was running around with a strapping officer behind his back. The novel is the work of a man in a luxurious hotel room watching his wife fool around with aristocrats on the beach, not of some moping, confused, recovering drunk.

Luhrmann doesn't so much wear his heart on his sleeve as slap you in the face repeatedly with it. Jay-Z rapping over what looks like Ken Burns vignettes is utterly transparent: Look, guys, history is just like now! The first time we see Gatsby, Leo DiCaprio's face is framed by fireworks while Gershwin's Rhapsody in Blue swells behind. Where I was watching it, in an advanced screening filled with fans dressed in flapper costumes, everybody started laughing at the obviousness of the heartstring pulling. The marketting is also naked and gross. The dance numbers are as embarrassing as Chanel ads. The cover of Vogue is mentioned outright. The film is shot in 3-D, but I could never see why. I assume the word "3-D" made it easier to fund the production, but it didn't help the movie.

So it's a glittering shallow monstrosity. That much is true. But the dark heart of Fitzgerald's masterpiece is also in the film, which saves it. Luhrmann's other confections, like Moulin Rouge! , celebrated excess and then pinned insipid melodramas onto the glamor — the point was always to appear in fashion magazines. Luhrmann's Gatsby is different. The movie runs straight at the ugliness and brutality that underpins the glimmering world. That consciousness of the hollowness of youth and beauty is what takes the story of Gatsby out of the realm of mere historical costume drama and into the world of the classic, and Luhrmann is the first director to have captured that tragic contradiction.

Everyone can understand Gatsby's dream, the desire to recapture the best of youth, to live in a world of infinite possibility forever. But it is the story of Nick Carraway that is more difficult, more painful and closer to the audience's. Carraway wants to watch the lives of the rich kids, in all their easy stupidity and pleasure, and to curse them without turning away. Nick's final line to Gatsby is "They're a rotten crowd. You're worth the whole damn bunch put together." But Gatsby has spent his life trying to impress the "rotten crowd," and Nick doesn't find a better crowd after he leaves them. He's just miserably alone. When Carraway sees Tom Buchanan after Gatsby's death, he writes:

I couldn't forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made...

I shook hands with him; it seemed silly not to, for I felt suddenly as though I were talking to a child. Then he went into the jewelry store to buy a pearl necklace — or perhaps only a pair of cuff buttons — rid of my provincial squeamishness forever.

No communist ever made a harsher critique of American wealth, and yet Carraway and Buchanan shake hands. Luhrmann has effectively captured that contempt for the glittering nobodies, even as he has made a film visually drunk on their excesses. It's a feat.

I wonder how much of the hate for Luhrmann's film comes from a hatred for the book? Or rather for the underlying spirit of the book? The release of The Great Gatsby has provoked some fascinating reevalutations of the novel. Kathryn Shulz at New York magazine has given the best attack I've ever read . And here's another good one , too. Both of them hate the book's moral core, which is complicated and not entirely pleasant. Here's Shulz:

[Fitzgerald] is all but inventing a new narrative mode: the third-­person sanctimonious. From the story of America's self-consuming profligacy, corruption, and avarice, he omits himself and his moral proxy — and, by extension, us.

In other words, Fitzgerald, or rather Nick Carraway as his proxy, is both too judgmental and not moral enough — a perfectly accurate criticism that also completely misses the point: That contradiction is exactly what Fitzgerald is trying to articulate. The illusion of American glamor is utterly hollow, meaningless, pointless, but there is nothing else. The rest is a valley of ashes. Only the memories of the dream are worth anything.

Hating The Great Gatsby is easy to do — most readers have probably experienced it first being shoved down their throats in high school. Fashion tries to sell it as a source for costumes at regular intervals, but the fashion never quite catches on. People talk about the elegance of the Jazz Age, but women don't wear diamanté headbands no matter how many times Tiffany hopes they will. Men will not, I believe, start wearing pink three-piece suits with straw boaters because of this film. The hype over Gatsby is ludicrous, and many smart people hate it for that reason. But it's worth noting that the novelists don't. On Twitter, Colson Whitehead wrote , " The Great Gatsby is fine. It's people who hold 'Gatsby parties' who are the worst." Joyce Carol Oates said , "Hating The Great Gatsby (the novel) is like spitting into the Grand Canyon. It will not be going away any time soon, but you will be."

Here's the thing: Luhrmann's movie, and the vast array of marketting that surrounds it, is phony. But so is Gatsby. Gatsby is tasteless and vulgar and spends too much money. Gatsby is the original icon of hype. Which is why his story remains so relevant. The movie could easily have been set in Silicon Valley today . The illusions that Gatsby and Luhrmann create are lies and ultimately cheap and corrupt, but their spell is nonetheless powerful. The critics are unintentionally paying Luhrmann a compliment, I think; his version is not so much a film about Gatsby as the film Gatsby would make about himself. It's the most Gatsbyesque Gatsby possible. What better standard is there for adaptation?

Apparently, Luhrmann is considering doing Hamlet next, with DiCaprio in the lead. "To me, Gatsby is the American Hamlet . What else could we possibly do as a follow-up?" he said. A Luhrmann Hamlet sounds absurd, probably stupid, a potential disaster. I can't wait.

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The great gatsby.

Directed by Robert Markowitz

Stock broker Nick Carraway consents to play Cupid for his rich married cousin Daisy Buchanan and her former love, nouveau riche Jay Gatsby.

Mira Sorvino Toby Stephens Paul Rudd Martin Donovan Francie Swift Heather Goldenhersh Matt Malloy Bill Camp Richard Jutras Jerry Grayson Janine Theriault Alex Bisping Martin Kevan Claudia Besso Gillian Ferrabee Tim Rozon Tony Calabretta Megan Broadman Andrea Sadler Jason Conyers Allen Altman Ernie Jackson Dean Patrick Fleming Paul Hopkins Burt Harris

Director Director

Robert Markowitz

Producers Producers

Craig McNeil David Roessell

Writer Writer

John J. McLaughlin

Original Writer Original Writer

F. Scott Fitzgerald

Editor Editor

David Beatty

Cinematography Cinematography

Production design production design.

Taavo Soodor

Art Direction Art Direction

Jules Ricard

Composer Composer

Granada Entertainment A&E Television Networks

Canada UK USA

Primary Language

Spoken languages.

Russian English

Releases by Date

29 mar 2000, 14 jan 2001, releases by country.

90 mins   More at IMDb TMDb Report this page

Popular reviews

Review by milo ★★★★★

as soon as paul rudd rolled his eyes in a super overdramatic homo way when tom and myrtle kissed in front of him this was a five star movie for me. honestly this is a camp classic.

Review by anna ★ 1

why is my english teacher making me watch this version and why is ant man in it

Review by Matthew Saponar ★

Holy shit this is unbelievably bad but Paul Rudd is insanely unintentionally funny in this

Review by Knivs

if a straight person was on crack and had no idea who jay was but loved paul rudd this would be the outcome of their headcanon

Review by cee ★ 2

daisy: (commits vehicular manslaughter)

gatsby: .....damn shawty!

look how they massacred my boy 😭 this was such a severe miscast for jay gatsby why was he a dumb dudebro !!! this gets 1 star only for sarcastic gay lil paul rudd

gatsby films ranked

Review by Zoë ★½

How do you even make a The Great Gatsby adaptation without a yellow car?!

Non of the actors had range in this. It was just: Nick: 😲 Gatsby: 😏 Daisy: 🥺 for the entire movie...

Also, how did they manage to make the wrong decision every single time with what to leave out and which new things to add? That's what I call consistent.

Review by Ben Crew ★½

The only way for this film to be experienced is in a high school English classroom on one of those box TVs the teacher has to roll into class, so honestly, who am I to judge? Paul Rudd knows exactly what kind of movie he is in and gives one of the better Nick Carraway performances as a result. 2000 Ranked

Review by Dawson Joyce ★★

February 2019 Scavenger Hunt #47 TASK #21: A film adapted from your favorite book!

A boring and poorly put together adaptation that doesn't compare to either the earlier 1974 film or the later 2013 film and most certainly doesn't compare to F. Scott Fitzgerald's masterful novel, The Great Gatsby is fundamentally bogged down by its being a made-for-TV production, with a severe lack of budget and vision that makes the whole thing look and feel cheap and lifeless, even in spite of the best efforts of its cast.

Review by Renee Pixie ★★

When Paul Rudd rolled his eyes, I was in love with him. Not the film. The made-for-TV style suffered beyond some overdramatic acting.

Review by Danielle ★

Half a star for Paul Rudd in the newsies cap, the other half star for Paul Rudd’s unintentionally funny reaction shots.

Review by Jedidiah Rose ★★ 8

I was quite curious about this one, the randomness of finding it on the BBC iPlayer of all places in part but then largely because it featured Paul Rudd and Toby Stephens, I was vaguely aware that this film existed beforehand don't get me wrong, but it was like a sudden jolt upon realizing I suddenly had easy access to a viewing of this afternoon, I made up mind quickly in work that upon returning to the house I should sit down with this one and see how it is.

I really should have just put on the Baz Luhrmann adaptation, because say what you will of Baz's take on this classic source material of course, it can hardly be…

Review by urfer ★

This is the worst episode of Poirot I’ve ever seen. Though Nick and Gatsby “having a conversation” (flirting) and Jordon coming up and saying “Having a gay time?” was a particular highlight

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10 Movies That Are Better If You Read the Book First

C inema is an integral part of storytelling, simultaneously allowing experimentation with narratives and visuals. Although it stands at a significant position on its own, film as a medium evolves in great proximity to film as a medium evolves in great proximity to literature . The stories expressed through prose eventually find a way to make it on the big screen, whether they be direct adaptations or sources of sole inspiration.

Consuming films may be a relatively more straightforward activity than reading a book. Due to a lack of time or attention span, it does not matter—it is a commonly known fact that books require more effort and time to be both acknowledged and appreciated. This is why film adaptations often capture the audience's intrigue and steal the spotlight, but some stories still require their original prose to be subjected to genuine recognition. Their cinematic siblings are praiseworthy, of course, but here are 10 films that insistently want you to read the book first—if you want the authentic experience.

Related: The Greatest Book-To-Movie Adaptations of the 2000s

The Lovely Bones

Alice Sebold’s drama thriller novel The Lovely Bones , about the brutal murder of a 14-year-old girl (played by Saoirse Ronan), was adapted to film by Peter Jackson in 2009. Saoirse’s character Susie falls victim to the cruel intentions of her neighbor George Harvey in the 1970s. However, stuck in a limbo-esque state, Susie continues to observe and even lead her family throughout the investigation of her disappearance and death. Combining a coming-of-age structure with crime, the afterlife, and the pursuit of justice, The Lovely Bones proposes a complex portrayal of death and heartbreak.

Expectantly, the story's emotional depth is presented much more clearly in the book, emphasizing grief, loss , forgiveness, and resilience. The character developments are relatively more prosperous, and the prose also gives its readers a chance to truly form a bond with Susie and be morally and emotionally invested in her murder. By engaging with the book first, the audience can witness additional character arcs, backstories, and subplots while also understanding its true emotional complexity.

The Girl on the Train

A psychological thriller by Paula Hawkins, The Girl on the Train tells the story about Rachel Watson, an alcoholic woman with psychological troubles that only further her entanglement with an ongoing missing person investigation. The book was adapted into film in 2016 by Tate Taylor and features Emily Blunt as Watson. Tackling deception, perception, memory, and secrets too dark to express overtly, The Girl on the Train studies the underlying mysteries of seemingly ordinary lives.

The psychological depth of Rachel’s addiction, guilt, and unreliable memories are traced in the book with utmost characterization. The bleak suburban landscape is described with great detail, and the tension is built through extreme immersion in the story and its setting. Also, the structure of its non-linear storytelling becomes firmly established with the novel, and the film’s similar experiments of time become the cherry on top.

Love, Rosie

A romantic comedy novel by Cecelia Ahern, Love, Rosie was adapted to film with the same name in 2014 by Christian Ditter. Following the lives of Rosie Dunne (Lily Collins) and Alex Stewart (Sam Claflin), the story is about two childhood best friends that try to navigate through life and love with various obstacles and missed opportunities. The story looks at the emotional counterparts of long-distance relationships, separation, and the harsh discipline of timing. Since it is essentially a contemporary love story that features the love of both friendships and romantic relationships, the epistolary formatting of Love, Rosie ’s book is quite significant.

Adding depth and increasing levels of empathy, the letters written between the characters help trace the expanded span of time the story takes place in and gives a deeper characterization of the two protagonists than the film is able to. However, one massive perk of the book is the alternate endings and resolutions it proposes for the story’s ending. Allowing the audience to engage with different possible outcomes, the novel actually strengthens the emotional impact of the story and situates its reader in a more active and immersed position.

The Remains of the Day

Written by Kazuo Ishiguro, The Remains of the Day was adapted to film in 1993 by James Ivory. Revolving around a butler, Steven, residing in the English countryside, in a house called the Darlington Hall, the story is set in the years leading up to World War ll . Steven’s thoughts on his career, the relationship he shares with Miss Kenton, the housekeeper, and his dedicated loyalty to his Employer, Lord Darlington comprise the general sense of the plot.

Though the film captures the book's essence and atmosphere, there are still several reasons why the book remains relevant and significant. First and foremost, Ishiguro’s prose style is quite distinctive and evocative, and contributes characterization to the delicate subtlety of the story. His nuanced storytelling and its effect on Steven's narrative perspective as a character and his path of self-realization and transformation are pivotal to comprehending the subtext and intricate symbolism.

The GodFather

The highly acclaimed film of Francis Ford Coppola, The Godfather , was a crime novel of the same name written by Mario Puzo. Following the Corleone family, headed by Vito Corleone, the narrative represents the Italian-American mafia scene . Throughout the trilogy, the story explores themes of power, loyalty, family, and organized crime by diving into the inner family dynamics and rivalries of the Corleones.

The filmic trilogy is a renowned masterpiece at this point, but the impression created by the books is crucial for one to grasp the reality of its story. Puzo’s writing style directly reflects the gritty and compelling nature of the mafia world. Aided by characteristic narrative style, the story in the book thus offers broader perspectives on the relationships and criminal network operations of the Corleone family. Themes of morality, honor, loyalty, and blurring of the difference between good and evil are collectively embedded into the narration structure and tone of the book. While the films’ success and quality are immeasurable, the book’s code of loyalty and display of power dynamics are expressed in greater detail.

Related: Recently Banned Books That Deserve a Film Adaptation

Trainspotting

Irvine Welsh’s 1993 black comedy-drama novel Trainspotting was adapted into a film by Danny Boyle in 1996. A group of heroin addicts in 1980s Edinburgh struggle with the challenges of drug addiction and try to break free from its viciously destructive cycle. The friend group is not only entrenched in the Edinburgh drug scene but also engages in various other illegal activities that support their habits. Explicating each character’s physical, emotional, and psychological process of heroin addiction and its devastating effects is an intricate task in the films.

The book, however, delves into the recovery attempts, relapses, themes of identity, and escape in a manner that immerses its reader through the Scottish dialect and linguistic style, the inner monologue of the characters expanded subplots, and the raw and gritty realism of desperation. It is additionally a study of the relevant sociocultural status of the characters. It discusses the socioeconomic factors, the Thatcher-era policies and their impacts, and, evidently, the drug culture prevalent in Edinburgh.

The Great Gatsby

Yet another story adapted to multiple screen iterations is F. Scott Fitzgerald’s classic novel The Greatest Gatsby with the 1974 version by Jack Clayton and the 2013 release directed by Baz Luhrmann. Narrated by Nick Carraway, a young man who settles into the fictitious town of West Egg, New York, the story follows the mysterious millionaire Jay Gatsby. Gatsby is infatuated with the married Daisy Buchanan because of their romantic relationship years ago and is insistent on impressing Daisy and making her leave her husband, Tom.

The lavish scenery present in the films satisfies the audience’s visions, but the prose is what really studies the historical and societal value of the narrative. Set in the 1920s , The Great Gatsby requires cultural context to understand the characters and its setting accurately, and the narrative perspective of Nick Carraway is a primary source of that. Capturing the nuances and Nick’s moral dilemmas, the book functions as the core text to grasp what the story traces as the ‘American Dream.’

The highly controversial Lolita novel of Vladimir Nabokov has two notable film adaptations: one directed by Stanley Kubrick in 1962, and Adrian Lyne’s version released in 1997. Narrated by the character Humbert Humbert, Lolita is a story about a brilliant and articulate scholar’s infatuation and sexual obsession with Dolores Haze, a 17-year-old young girl he nicknames Lolita. It intensely portrays desire, morality, forbidden relationships, and age-centric manipulation.

Because of its radical nature and controversial topic, the story is one that requires utmost concentration and immersion to be able to construe and interpret it in the way it is intended. Nabokov’s linguistic intricacies, wordplays, and complex descriptions play crucial roles in depicting the plot's moral ambiguity and psychological layers. To engage in broader discussions and relevant debates about the book’s subject matter, one must first be introduced to it through its original prose.

2001: A Space Odyssey

The Stanley Kubrick-directed classic 2001: A Space Odyssey is an adaptation of Arthur C. Clarke’s 1968 novel of the same title. A science fiction story about humanity’s evolution, nature of consciousness, and the existence of advanced extraterrestrial life, it unfolds in four parts: The Dawn of Man , Discovery of the Moon , Journey to Jupiter , and The Infinite and Beyond .

Initially written based on Clarke’s short story called “The Sentinel,” the screenplay and the novel’s plot were developed simultaneously by both Clarke and Kubrick. Because of the exchange of ideas and concepts between the two creators, the book possesses immense value in truly understanding the impact and grandeur of the film. Delving deeper into the expanded universe, fleshing out the themes and symbolisms in greater detail, and offering a more extensive character development than its screen counterpart, the book comprises practically the core of 2001: A Space Odyssey , and even though the film is considered a masterpiece and admirable adaptation on its own accord, the value of the book is still impossible to gloss over.

Pride and Prejudice

Subjected to several film adaptations over the years, Jane Austen’s timeless classic Pride and Prejudice takes place in early 19th-century England. Following the lives of the Bennet family, the story focuses mainly on Elizabeth Bennet, the second-eldest daughter of the house. As Elizabeth navigates her town's social interactions and courtships, she becomes acquainted with Mr. Darcy , the close friend of the wealthy and amiable Mr. Bingley. The story titularly explores the themes of pride, prejudice, self-reflection, and personal growth that transcends surface-level judgments. It also depicts societal norms and expectations of marriage in 19th-century England, featuring class differences, pressure on women, and the pursuit of advantageous matches.

The screen adaptations capture the visionary and atmospheric feel of the old English countryside, but Austen’s wit and language are incomparable. Not only does the novel give a more well-rounded and complex character portrayal, but it is also filled with social commentary, observations, and critique that can easily get overshadowed in the films.

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The Great Gatsby

Where to watch.

Watch The Great Gatsby with a subscription on Netflix, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

While certainly ambitious -- and every bit as visually dazzling as one might expect -- Baz Luhrmann's The Great Gatsby emphasizes visual splendor at the expense of its source material's vibrant heart.

Critics Reviews

Audience reviews, cast & crew.

Baz Luhrmann

Leonardo DiCaprio

Tobey Maguire

Nick Carraway

Carey Mulligan

Daisy Buchanan

Joel Edgerton

Tom Buchanan

Isla Fisher

Myrtle Wilson

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The 25 Best Movies Like 'The Great Gatsby', Ranked By Fans

If you're a fan of the dazzling visuals depicted in The Great Gatsb y and are looking for more cinematic experiences that capture its essence, you're in for a treat. The movies on this list have been carefully selected for their thematic resonance and captivating storytelling that mirrors the allure of Baz Luhrmann's adaptation of F. Scott Fitzgerald's iconic novel. These films were chosen because they feature similar themes and tones to The Great Gatsby .

One such film that echoes the opulence of Gatsby's world is Nine , a musical drama that delves into the emotional struggles and artistic passion of its protagonist, mirroring the introspection and musical grandeur of Luhrmann's adaptation. If you crave more tales of lavish parties and forbidden desires, Chicago serves as a captivating choice, drawing viewers into the scandalous lives of its central characters in a world of jazz and prohibition. These films, among others, promise to transport you to captivating worlds akin to The Great Gatsby.

Don't forget to cast your vote on your favorite films on this list and unlock a treasure trove of cinematic delights for your viewing pleasure. And with convenient "Where to Watch" buttons available for streaming services like Netflix, Amazon Prime, Apple TV+, and more, you'll have easy access to these compelling movies that share the spirit of The Great Gatsby.

Babylon is a drama, comedy film directed by Damien Chazelle, following the rise and fall of characters during Hollywood's transition from silent to sound films in the late 1920s, showcasing themes of ambition, excess, and decadence. Starring Brad Pitt as Jack Conrad, Margot Robbie as Nellie LaRoy, and Diego Calva as Manny Torres, the film explores the tumultuous world of old Hollywood, with elements of gambling, cocaine, and alcoholism intertwined in the narrative.

Similar to The Great Gatsby , Babylon delves into the themes of ambition, obsession, and the darker side of wealth, set against the backdrop of a glamorous yet decayed era. Both films feature opulent settings, complex characters, and a sense of disillusionment with the pursuit of success and happiness. While The Great Gatsby captures the essence of the 1920s Jazz Age in Long Island, Babylon explores the excesses and depravity of the Hollywood filmmaking industry during the late 1920s, portraying a world of extravagance and downfall.

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Romeo + Juliet

Romeo + Juliet reimagines Shakespeare's classic tragedy in a modern setting, exploring themes of love, fate, and societal expectations against a vibrant urban backdrop. The film stars Leonardo DiCaprio and Claire Danes as the titular star-crossed lovers, bringing their timeless romance to life with passion and intensity, under the direction of Baz Luhrmann.

In the same vein as The Great Gatsby , Romeo + Juliet , helmed by Baz Luhrmann, infuses classic storytelling with contemporary flair and visual extravagance. Through dynamic camerawork, striking visuals, and a modern soundtrack, Luhrmann creates a mesmerizing world of love, tragedy, and societal conflicts. The film's portrayal of young love amidst chaotic surroundings echoes the themes of passion and consequence in The Great Gatsby .

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Moulin Rouge!

Moulin Rouge! is a lavish musical romantic drama set in the bohemian underworld of Paris, following a young writer who falls in love with a courtesan at the famous cabaret. The film, directed by Baz Luhrmann, explores themes of love, jealousy, and sacrifice through its visually stunning storytelling and electrifying musical numbers, led by Ewan McGregor and Nicole Kidman.

Moulin Rouge! captures the essence of a bygone era with its opulent production design, larger-than-life characters, and themes of unrequited love and tragedy. Baz Luhrmann's directorial vision infuses the film with a sense of grandeur and theatricality, creating a cinematic experience that is both visually captivating and emotionally resonant. The film's blend of passion, ambition, and heartbreak mirrors the spirit of The Great Gatsby in a dazzling display of creativity and emotion.

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Midnight in Paris

Midnight in Paris is a romantic comedy film directed by Woody Allen , following a screenwriter who finds himself magically transported to 1920s Paris every night at midnight. The film explores themes of nostalgia, artistic inspiration, and the allure of the past, with Owen Wilson, Rachel McAdams, and Marion Cotillard in the lead roles.

Midnight in Paris , like The Great Gatsby , transports viewers to the vibrant and exuberant world of the roaring twenties, encapsulating the glitz, glamour, and cultural awakening of the era. Through its whimsical storytelling and lush visuals, Midnight in Paris captures the essence of the Jazz Age with a mix of nostalgia and enchantment. The film's depiction of bohemian Paris and its iconic personalities mirrors the allure and sophistication of the roaring twenties portrayed in The Great Gatsby .

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Elvis is a musical biopic that delves into the life and career of the iconic singer Elvis Presley, exploring themes of fame, success, and personal relationships. The film features an ensemble cast including Austin Butler as Elvis Presley, Tom Hanks as Colonel Tom Parker, and Olivia DeJonge as Priscilla Presley, bringing the King of Rock 'n' Roll's story to life with passion and authenticity.

Just like The Great Gatsby , Elvis , directed by Baz Luhrmann, immerses viewers in a world of grandeur ambition, and the pursuit of the American Dream. Through his distinctive visual style and meticulous attention to detail, Luhrmann creates a cinematic experience that captures the complexities of fame and the darker side of celebrity culture.

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The Great Gatsby

In The Great Gatsby , a drama and romance film directed by Jack Clayton, Nick Carraway, a young Midwesterner residing on Long Island, becomes captivated by the enigmatic past and extravagant lifestyle of his neighbor, the newly wealthy Jay Gatsby. He is drawn into Gatsby's inner circle, where he witnesses the unfolding drama of obsession and tragedy among characters like Jay Gatsby (portrayed by Robert Redford) and Daisy Buchanan (played by Mia Farrow).

Both The Great Gatsby films, the 1974 version, and the 2013 adaptation, explore themes of obsession, wealth, and disillusionment. Each film offers a unique and compelling portrayal of ambition, excess, and the fleeting nature of the American Dream, captivating audiences with their intricate storytelling and complex characters.

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La La Land is a musical romantic comedy-drama that follows the love story between a jazz musician and an aspiring actress in Los Angeles. The film explores themes of love, ambition, and the pursuit of dreams, with Ryan Gosling and Emma Stone delivering captivating performances in the lead roles.

La La Land and The Great Gatsby both use music as a central storytelling element to enhance the emotional depth and atmosphere of the narrative. The integration of musical numbers in La La Land , directed by Damien Chazelle, mirrors the grandeur and spectacle of Jay Gatsby's extravagant parties in Baz Luhrmann's adaptation. Through catchy tunes and lyrical storytelling, La La Land captures the essence of joy, heartbreak, and longing, much like the musical sequences in The Great Gatsby .

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Pride & Prejudice

Pride & Prejudice is a romantic drama film based on Jane Austen's classic novel, following the tumultuous relationship between Elizabeth Bennet and Mr. Darcy in 18th century England. The film explores themes of love, class dynamics, and personal growth, with Keira Knightley and Matthew Macfadyen embodying the iconic literary characters .

Mirroring the romantic allure of The Great Gatsby , Pride & Prejudice delves into the complexities of love and societal expectations, depicting a nuanced and passionate romance that defies conventions. Pride & Prejudice 's exploration of love's transformative power and the obstacles that lovers must overcome resonates with the themes of romantic idealism and societal barriers present in The Great Gatsby .

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Nine is a musical drama based on Federico Fellini's film 8½ , following filmmaker Guido Contini as he navigates a creative and personal crisis. The film explores themes of artistic inspiration, relationships, and self-discovery, with an ensemble cast including Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, and Nicole Kidman.

In a similar fashion to The Great Gatsby , Nine uses music to deepen the narrative and illuminate the character dynamics and emotional struggles of the protagonist. Directed by Rob Marshall, the film weaves together melodic performances and introspective songs to delve into Guido's psyche and creative journey, mirroring the introspection and grandeur of the music in Luhrmann's adaptation. Through captivating musical sequences and soulful ballads, Nine captures the essence of artistic exploration, passion, and turmoil, resonating with the emotional depth and thematic complexity found in The Great Gatsby .

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Chicago is a musical crime comedy-drama set in 1920s Chicago, focusing on the scandalous lives of two murderesses who become celebrities in the era of jazz and prohibition. The film delves into themes of fame, corruption, and manipulation, with a star-studded cast including Renée Zellweger, Catherine Zeta-Jones, and Richard Gere.

Chicago captures the essence of crime, ambition, and decadence during the Prohibition era. The film's vibrant musical numbers and flashy choreography evoke the energy and allure of the Jazz Age, showcasing the extravagance and moral ambiguity of the period. Through its dazzling performances and sharp wit, Chicago paints a captivating picture of the era's glamour and corruption, reflecting the larger-than-life personalities and social dynamics present in The Great Gatsby .

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The Phantom of the Opera

The Phantom of the Opera is a musical drama based on Andrew Lloyd Webber's iconic stage production, centering on the mysterious Phantom who haunts the Paris Opera House. The film delves into themes of love, obsession, and sacrifice, with Gerard Butler, Emmy Rossum, and Patrick Wilson portraying the complex characters of the Phantom, Christine, and Raoul.

The Phantom of the Opera uses music as a powerful storytelling tool to convey the characters' emotions and inner turmoil. Directed by Joel Schumacher, the film intertwines haunting melodies and operatic performances to create a sense of mystery and passion, akin to the seductive allure and emotional resonance of the music in Luhrmann's adaptation. Through its lush orchestration and poignant ballads, The Phantom of the Opera immerses viewers in a world of love, betrayal, and haunting beauty, echoing the musical storytelling techniques seen in The Great Gatsby .

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Hairspray is a musical comedy set in 1960s Baltimore, focusing on teenager Tracy Turnblad's quest to integrate a popular TV dance show . The film explores themes of racial discrimination, body positivity, and the power of unity, with an ensemble cast including Nikki Blky, John Travolta, and Queen Latifah.

Hairspray and The Great Gatsby share a common thread in their use of music to enrich the narrative and drive the themes. The spirited musical numbers in Hairspray , directed by Adam Shankman, evoke the energy present in the lavish parties and jazz-infused scenes of Luhrmann's adaptation. Through lively choreography and catchy tunes, Hairspray delivers a message of inclusivity and celebration, reminiscent of the vibrant musical elements found in The Great Gatsby .

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Anna Karenina

In Anna Karenina , a period drama film directed by Joe Wright, the eponymous character finds herself torn between her passion for a dashing officer and her duty to her husband and family in 19th-century Russia. The movie delves into themes of love, societal expectations, and tragedy, with Keira Knightley, Jude Law, and Aaron Taylor-Johnson portraying the central characters in this poignant tale of forbidden desires.

Much like The Great Gatsby , Anna Karenina features lavish parties with dazzling visuals that transport viewers to a world of opulence and excess, highlighting the extravagance and decadence of the aristocratic elite. Through its sumptuous costumes and elaborate sets, the film captures the grandeur and allure of the lavish gatherings that play a central role in the characters' lives, mirroring the extravagant parties depicted in The Great Gatsby . The film's stunning visual aesthetics and choreographed sequences evoke a sense of spectacle and splendor, echoing the intoxicating atmosphere of the roaring twenties found in Luhrmann's adaptation.

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Once Upon a Time in Hollywood

Once Upon a Time in Hollywood is a comedy-drama film directed by Quentin Tarantino, following a fading TV actor and his stunt double as they navigate the changing landscape of Hollywood in the late 1960s. The movie explores themes of fame, nostalgia, and the passage of time, with Leonardo DiCaprio, Brad Pitt, and Margot Robbie delivering standout performances.

Once Upon a Time in Hollywood , much like The Great Gatsby , showcases Leonardo DiCaprio's magnetic screen presence and versatility as he embodies the complexities of his character with depth and nuance. DiCaprio's portrayal of the troubled actor Rick Dalton exudes charm and vulnerability, capturing the essence of a man grappling with his fading stardom and uncertain future. Through his captivating performance, DiCaprio immerses viewers in a world of faded glamour and poignant introspection, akin to the rich character portrayals in Luhrmann's adaptation.

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Chocolat is a romantic drama film set in a small French village, where a mysterious woman named Vianne opens a chocolate shop that begins to challenge the town's rigid traditions. The film explores themes of freedom, temptation, and acceptance, with Juliette Binoche, Johnny Depp, and Judi Dench portraying key characters in this tale of love and liberation.

Chocolat , much like The Great Gatsby , unfolds a tale of forbidden love and societal constraints, showcasing the power and complexity of romantic relationships amidst societal expectations. Through its rich visual tapestry and emotional depth, Chocolat captures the essence of passion and longing, echoing the tumultuous romantic entanglements found in Luhrmann's adaptation. The film's portrayal of love as both transformative and disruptive resonates with the themes of desire and yearning present in The Great Gatsby .

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The Cat's Meow

The Cat's Meow is a historical drama film based on the mysterious death of film producer Thomas H. Ince during a weekend yacht party hosted by newspaper mogul William Randolph Hearst in 1924. The movie explores themes of power, scandal, and manipulation, with a cast that includes Kirsten Dunst, Edward Herrmann, and Eddie Izzard embodying the intriguing characters involved in the scandal.

The Cat's Meow offers a glimpse into the opulent and scandalous world of the roaring twenties, where powerful figures navigate love, betrayal, and ambition. Director Peter Bogdanovich captures the allure and extravagance of the era through lavish costumes and settings, mirroring the lavish parties and social intrigue found in Luhrmann's film. The film's exploration of hidden desires and dark secrets among the elite echelons of society echoes the themes of power and excess that define the roaring twenties as seen in The Great Gatsby .

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Boogie Nights

Boogie Nights is a drama film directed by Paul Thomas Anderson, exploring the rise and fall of a young star named Dirk Diggler in the San Fernando Valley during the golden age of the adult film industry. The movie delves into themes of ambition, excess, and the dark side of fame, with Mark Wahlberg, Julianne Moore, and Burt Reynolds delivering captivating performances in this revealing look at the industry's highs and lows.

Boogie Nights showcases lavish parties with dazzling visuals that immerse viewers in a vibrant and hedonistic world. The film's vibrant cinematography and energetic sequences capture the kaleidoscopic nature of the party scenes, offering a glimpse into the extravagant and chaotic lifestyle of the characters, akin to the lavish soirées depicted in The Great Gatsby . 

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What's Eating Gilbert Grape

What's Eating Gilbert Grape is a drama film centered on a young man named Gilbert Grape who struggles to care for his mentally challenged brother Arnie and their dysfunctional family in a small town. The movie explores themes of family, responsibility, and personal growth, with Leonardo DiCaprio delivering a breakthrough performance as Arnie alongside Johnny Depp as Gilbert.

Similar to The Great Gatsby , What's Eating Gilbert Grape features a mesmerizing performance by Leonardo DiCaprio, who transforms into the endearing and emotionally complex character of Arnie Grape with authenticity and empathy. DiCaprio's portrayal of Arnie captures the innocence and vulnerability of the character, drawing viewers into his world with a blend of heartwarming charm and poignant sincerity.

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Once is a musical romance film centered on a chance encounter between a struggling street musician and a Czech immigrant, who bond over their love of music and shared dreams. The film explores themes of love, music, and artistic collaboration, with Glen Hansard and Markéta Irglová delivering soulful performances that resonate with emotional depth.

Once portrays a poignant and heartfelt romance that transcends barriers of language and culture, celebrating the transformative power of love and music. Through its raw emotion and authentic performances, the film captures the essence of a deep connection between two individuals, echoing the profound romantic yearning and longing present in The Great Gatsby . 

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The Sound of Music

The Sound of Music is a musical drama based on the real-life story of the von Trapp family singers and their governess Maria, set against the backdrop of pre-World War II Austria. The film celebrates themes of love, family, and resilience, with Julie Andrews and Christopher Plummer delivering iconic performances in the lead roles.

The Sound of Music weaves a story of love and adversity, capturing the enduring power of romantic connections that transcend social barriers. Through its timeless melodies and heartfelt performances, the film evokes the spirit of love and hope in the face of challenges, much like the romantic entanglements in The Great Gatsby .

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The Last Tycoon

In T he Last Tycoon , a Drama and Romance film directed by Elia Kazan, Monroe Stahr, a successful movie producer, is consumed by his work while also pursuing a beautiful and elusive young woman, leading him towards self-destruction. The movie explores themes of ambition, love, and the sacrifices made in the pursuit of success, with a star-studded cast including Robert De Niro as Monroe Stahr, Tony Curtis as Rodriguez, and Jack Nicholson as Brimmer.

Similar to The Great Gatsby , The Last Tycoon was based on a work by F. Scott Fitzgerald and portrays a world of glamour, ambition, and tragedy, where characters like Monroe Stahr and Jay Gatsby are driven by their desires while facing the consequences of their actions. While The Great Gatsby captures the opulence and decay of the Jazz Age in Long Island, The Last Tycoon delves into the glitz and turmoil of Hollywood's Golden Age, offering a compelling narrative of ambition and unfulfilled dreams set against the backdrop of the movie-making industry. Each film brings a unique perspective on the pursuit of wealth and love, showcasing the complexities of human nature and the price one pays for living in pursuit of illusions.

The Aviator

The Aviator is a biographical drama film depicting the life of eccentric billionaire Howard Hughes, tracing his rise in the aviation and film industries and his struggles with mental illness. The movie delves into themes of ambition, obsession, and isolation, with Leonardo DiCaprio delivering a riveting performance that earned him critical acclaim.

In a manner reminiscent of The Great Gatsby , The Aviator features Leonardo DiCaprio in a tour de force performance, embodying the complexities and contradictions of the enigmatic Howard Hughes. DiCaprio's portrayal of Hughes captures the character's brilliance and torment, showcasing a range of emotions and inner turmoil that mirror the grandeur and tragedy of Jay Gatsby. Through his mesmerizing and immersive acting, DiCaprio brings Hughes to life with captivating intensity and depth, resonating with the compelling character dynamics and emotional depth found in The Great Gatsby .

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The Wolf of Wall Street

The Wolf of Wall Street is a biographical black comedy film directed by Martin Scorsese, recounting the meteoric rise and eventual fall of stockbroker Jordan Belfort as he navigates the world of high finance, corruption, and excess in the 1980s and '90s. The movie explores themes of greed, ambition, and moral decadence, with Leonardo DiCaprio, Jonah Hill, and Margot Robbie delivering electrifying performances that capture the frenetic energy of the era.

The Wolf of Wall Street features lavish parties with dazzling visuals that transport viewers to the hedonistic and extravagant world of the wealthy elite, where wealth and excess abound in a whirlwind of opulence and indulgence. The film's stylish direction and dynamic camera work bring to life the pulsating energy and frenzied revelry of the party scenes, mirroring the grandeur and spectacle of the extravagant gatherings depicted in The Great Gatsby . 

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Eyes Wide Shut

Eyes Wide Shut is a psychological drama film directed by Stanley Kubrick, following a married couple, played by Tom Cruise and Nicole Kidman, as they navigate jealousy, desire, and temptation in a secretive and erotic underworld. The movie delves into themes of sexuality, power dynamics, and existential exploration, with Kubrick's distinctive visual style creating an atmosphere of mystery and intrigue.

Eyes Wide Shut unfolds in a world of hidden desires and lavish parties with dazzling visuals. Through its hypnotic visuals and eerie ambiance, Eyes Wide Shut evokes a sense of intrigue and sensuality, echoing the mysterious allure and decadent allure found in The Great Gatsby .

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The Curious Case of Benjamin Button

In The Curious Case of Benjamin Button , a drama, fantasy, and romance film directed by David Fincher , Benjamin Button is born under extraordinary circumstances, aging in reverse from an elderly man to an infant. His unconventional life intertwines with his relationship with Daisy, a dancer, as they navigate the complexities of time and love through unusual adventures. Starring Brad Pitt as Benjamin Button, Cate Blanchett as Daisy Fuller, and Taraji P. Henson as Queenie, the film explores themes of aging, love, and the passage of time in a mesmerizing tale of hope and connection.

The Curious Case of Benjamin Button shares similarities with The Great Gatsby in its portrayal of a world where characters grapple with longing, time, and the pursuit of love amidst extraordinary circumstances. Both films were based on works by F. Scott Fitzgerald and captivate audiences with their visually stunning storytelling, complex characters, and themes of longing and the inevitable passage of time, creating a compelling narrative tapestry that highlights the beauty and fragility of human connections.

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• The Great Gatsby (2013)
• Watchworthy
• Historical Entertainment

1，听托比马奎尔这个演员叙述，心里有一种平静的感觉。毕竟在不了解故事的前提下，他肯定不是个坏人。故事叙述有点像妖猫传，以一个第三者的视角描述贵妃和圣人的爱情故事。只不过一个是男主的悲剧 ，一个是女主的。

2，特别喜欢盖茨比和黛西第一次在尼克家会面的场景，那种激动兴奋却又不敢说出口，像一个害羞的孩子见到喜欢的人一样。他为了她，可以建造梦幻空间，把全世界最好的东西都给他，只为能盼望他来参加舞会，但是有了尼克的帮忙，他们又重新恋爱了，迟了五年。

3，我记得张佳玮写过，书中的爱情总是有不完美。少年总是先完成大的目标，才去考虑爱情，但或许已经晚了，比如乔峰与阿朱杨过小龙女比如至尊宝紫霞仙子。盖茨比成为了百万富翁，可是自己喜欢的人已经嫁人了。盖茨比死之前，还念着黛西的名字，但是想的是什么？我走了他该怎么办？最终不能在一起？他派人杀人灭口？伟大往往伴随着一丝遗憾，甚至悲剧。

4，有一个疑惑，汤姆都想着去调查盖茨比的背景，盖茨比怎么不去调查汤姆有外遇，这样就扯平了呗，多了一个谈判的筹码，也可以光明正大的。也可以说，给你多少多少，离开黛西。

5，黛西提过一个想法，远走高飞，盖茨比否定了。可能他知道离开了这些财富，就会跟5年前一样的结局，因为这些财富是他们相爱的基础。所以就来评价黛西，她到底爱不爱盖茨比呢。一个奋斗五年为了他，替他顶罪蒙冤而死的人，她到底爱不爱呢。后来葬礼那一段，我明白了，不爱。至少面子上都过不去，哪怕他可以陪着尼克出席。也许盖茨比一死，她全部解脱了。

6，盖茨比的经历，事业上从出身贫苦成为百万富翁，感情上一直深爱着自己的初恋，甚至最后可以顶罪，放到任何时候，都是了不起的人。起高楼与楼塌了，只在一瞬间。得势的时候可以美化自己的背景跻身上流社会，很励志的年轻百万富翁。失势的时候一切老底都会被扒出来，都成了原罪。那个年代的所谓朋友，都是建立在金钱地位利益上面，等你失势了就一切都没有了，葬礼都没人愿意去，还会把一些脏水往你身上泼，遗臭万年。还好有一个托比以及荧幕前的我们，知道真相，知道盖茨比了不起。

7，盖茨比是我们年轻人的榜样，成功之路，对待感情至死不渝。是我，我也会的。希望年轻人都能多赚钱，能和喜欢的人在一起，能把日子过好。

• 主演: 莱昂纳多·迪卡普里奥 / 凯瑞·穆里根 / 托比·马奎尔
• 类型: 剧情 / 爱情
• 地区: 澳大利亚 / 美国
• 上映: 2013-05-01(纽约首映) / 2013-05-10(美国) / 2013-08-30(中国大陆)

‘Gatsby’ arrives at the ART, driven by a powerhouse creative team

F. Scott Fitzgerald’s “The Great Gatsby” may be a famously slender novel, but its 200 pages contain multitudes. With the rights to this landmark of American literature now in the public domain, adaptations abound, and its themes and ideas are rich and elastic enough to accommodate a slew of interpretations. The current Broadway version, “The Great Gatsby,” leans into Jazz Age glamour and romantic yearning; last year’s immersive adaptation at a New York City hotel offered a dazzling feast for the senses; and the Elevator Repair Service’s “Gatz,” a word-for-word rendition of the novel that returns to New York’s Public Theater in the fall, finds a reader inside a drab office being seduced by Fitzgerald’s evocative prose.

Now comes American Repertory Theater’s “Gatsby,” whose pre-Broadway world premiere bows at the Loeb Drama Center in Cambridge Sunday through Aug. 3. This musical adaptation digs into the class issues and melancholic heart of the novel, the “hopeless but determined” quest to achieve the American Dream. The production, with its starry creative team, features a score by English gothic-pop star Florence Welch (Florence + The Machine) and Grammy-winning producer and singer Thomas Bartlett (a.k.a. Doveman), a book by Pulitzer Prize-winning playwright Martyna Majok ( “Cost of Living” ), direction by Tony winner Rachel Chavkin ( “Hadestown” ), and choreography by another Tony winner, Sonya Tayeh (“Moulin Rouge!”).

Majok first read the novel in high school, and it didn’t make much of an impact. Her opinion changed dramatically when she was asked to adapt it into a musical and she read it again.

She recalls listening to the audiobook while walking through the Cloisters museum in Manhattan’s Fort Tryon Park early in the pandemic and arriving at the vivid, heart-rending final passage of the novel — ”So we beat on, boats against the current, borne back ceaselessly into the past” — as tears welled up.

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“It was especially moving to be reading this book in the pandemic in my 30s and questioning a lot of the choices I’d made,” Majok recalls. “It’s the most hopeful but clear-eyed portrait of the American mentality and the American spirit I’ve ever encountered.”

Her script aims to capture Fitzgerald’s ambivalence about the American Dream — “the gorgeous, complicated duality of this country, where the dream itself is so beautiful and gorgeous and the pursuit of it is valiant and worthwhile and gives our lives a sense of meaning, but the ways in which we’ve tried to attain it have often led to destruction and devastation. We ruin ourselves in the pursuit of it.”

Chavkin says this “Gatsby” is engaging with the book’s pointed critique of a class-based society. “Everyone has this idea that the novel is about the decadence and debauchery of the 1920s. But, no, the novel is critiquing that. Fitzgerald himself always felt out of place, like he was the poor kid at Princeton and an outsider to the American Dream. The novel is about both the beauty — and the pain — of that aspiration.”

A nouveau-riche fabulist, the enigmatic Jay Gatsby ( Isaac Powell ) is the quintessential self-made man (never mind that his wealth may have been amassed in nefarious ways). He hosts wild parties at his mansion, but his heart (and his mind) remain with his lost love, Daisy (Charlotte MacInnes). Their courtship was severed when he was sent to war in Europe. Her family saw Gatsby as below their lofty old-money station, and the debutante wound up marrying brutish blowhard Tom Buchanan (Cory Jeacoma). Every night, a still-smitten Gatsby stares across the bay to the green light on the end of Daisy’s dock, hoping that she’ll show up at one of his lavish soirees and he’ll win her back.

When Daisy’s cousin Nick Carraway (Ben Levi Ross), a Midwestern transplant who works as a bond salesman in the city, moves into the cottage next door, Gatsby convinces Nick to help him in his quest to reunite with Daisy. Meanwhile, Nick, the book’s narrator, spends time with Daisy’s best friend, cheeky golf pro Jordan Baker ( Eleri Ward ), while Tom cavorts with his mistress, Myrtle Wilson (Solea Pfeiffer), whose mechanic husband, George (Matthew Amira), owns an auto repair shop.

“It was actually a little jarring how much I saw of myself in those characters that I hadn’t seen before,” Majok says. “It feels immensely personal to me and my experiences of America. It’s a very exposing adaptation for me. Maybe nobody else will see it, but I feel like I’m all over it.”

As a Polish-American immigrant who came to this country with her mother as a child, Majok felt a strong connection to self-made striver Jay Gatsby and the fierce Myrtle Wilson, a working-class woman yearning to escape her status. She saw aspects of her mother, who worked in factories and cleaned houses, in the resolute George Wilson.

In previous adaptations, Majok says, Myrtle has been portrayed as “this crass cartoon of a working-class character … I was like, ‘Absolutely not. Over my dead body.’ I just saw so much complicated life and realness in that character.”

Meanwhile, Gatsby is the ultimate fake-it-till-you-make it upstart, someone “who never feels that he has enough, who has to keep on trying to ascend the ranks of society in order to feel like he can matter. And I’m like, ‘Hmm, who does that sound like?’” she says with a knowing laugh.

Around the time she was hired, Majok shared with Welch a recording of her 2021 play “Sanctuary City,” about two teenage immigrant Dreamers. “The yearning in it deeply resonated with her, as well as the feral hunger of the characters. And those two phrases, ‘yearning’ and ‘feral hunger,’ have been our tonal north stars with ‘Gatsby’ and were the qualities that I was responding to in the book.”

The score, Chavkin says, runs the gamut, flavored with the electronic rock and pulsating pop that characterizes Florence + the Machine anthems like “Dog Days Are Over.” There are songs with “as romantic a series of chords and lyrics as I’ve ever heard”; bangers and bops for the big party scenes; ballads that evoke the plaintive folk-rock of Joni Mitchell; and a song with a pulsating Nine Inch Nails vibe that comes after a fight between two characters in the second act.

“The audience will be getting a score that sounds much more like a Florence Welch and Thomas Bartlett fusion than a traditional Broadway musical,” she explains.

The show’s promotional tagline, “An American Myth,” has a multivalent meaning. Sure, Gatsby himself is a self-mythologizing hero — a rags-to-riches Horatio Alger type. But the real myth, Chavkin asserts, is the contradiction at the heart of the nation’s promise, the beckoning green light that’s called people to its shores for generations, and the broken dreams that lie in its wake.

“To believe in Gatsby is to believe in America, to believe in this promise of ascension and the idea that we’re all created equal, but that’s not really the case,” Chavkin says. “The idea of equality is a myth that people fight to make real every day. I think the show is trying to hold both the beauty of the myth and the painfulness that it is a myth in equal measure.”

Presented by the American Repertory Theater. At Loeb Drama Center, 64 Brattle St., Cambridge. May 26-Aug. 3. Tickets from $35. 617-547-8300, AmericanRepertoryTheater.org/Gatsby

Christopher Wallenberg can be reached at [email protected] .