Baz Luhrmann adapted F. Scott Fitzgerald’s story “The Great Gatsby”, but this is not because of the changed form. Instead, it is due to Luhrmann’s vision as well as the context. The audience is familiar with the idea of the hollowness of the upper classes. This central preoccupation affects the meaning of the film. It also reflects Luhrmann’s vision and context.
They are intertwined through the idea of love. The omissions or adaptations of some aspects alter this because of the changes in form and context in which they were created. The American Dream is often mentioned, but only indirectly. The Luhrmann filming style and change of form emphasizes and exaggerates the American Dream. Luhrmann shifts emphasis from the hollowness that the upper class experiences to their obsessions with material possessions. Luhrmann invites Daisy to fulfill this role.
Gatsby says that Daisy depends on a “force” of love, money, and unquestionable practicality to make her life run smoothly. Luhrmann creates Daisy as a character the audience can see in yellow and white. This example demonstrates how flexible her character can be, despite the fact that she is completely surrounded with money.
Some people believe that she is shallow and obsessed with decadence. Other people believe she is the innocent, naive “golden boy,” but later she reveals her insatiableness despite the abundance around her. Daisy’s inextricable use of “force” implies that Daisy is being forced to love Tom. This contradicts the idea love. The rapid changes in camera angles, especially low angle shots, in the introduction to Tom and Daisy create drama and make the subject (often an article) seem more strikingly and eloquent.
Luhrmann used the 2013 context as inspiration for his version. The Buchanan’s and Gatsby attitudes are a good example of the hollowness of today’s upper class. The modern audience not only witnesses the pompous behavior of people in high positions but also sees what they own. Luhrmann makes use of the visual aspects of film to portray the extravagant possessions and desires of those in wealth.
Luhrmann’s direction changes the meaning of the concept of love. It is no longer harshly condemned but has an idealised film version. The thesis’s criticisms are now less harsh and it is viewed as a romantic indulgence which a film audience will enjoy. Also, Jordan and Nick’s relationship are not mentioned. This is primarily due to the form change.
It is impossible to include Nick’s love story in the novel, as it has been changed in form. Luhrmann is very particular about Daisy and Gatsby’s love story. This is because he uses film techniques (non-diegetic, diegetic) to romance their love. The first scene between Gatsby, Daisy and their love is the one that the audience notices.
It is clear that the meaning of the story has been altered. The audience now associates love with positive things, rather than the negative criticisms in the novel. As it repeatedly reiterates their infatuation for one another, the montage emphasizes the love between them (even in difficult circumstances). As Daisy Gatsby describes it, the money they both have is an additional incentive to be together.
The film’s soundtrack reflects the film’s rich period context, as well as the preoccupations with the shallowness and complexity of materialism. The unbalanced relationship of Tom and Myrtle is both a challenge and a coincidence in the Daisy-Gatsby relationship. Luhrmann uses the telephone to create a romanticized and indulgent atmosphere in the Gatsby-Daisy relationship.
Myrtle doesn’t just have a one-night-stand, but she’s also often called ‘the Other Woman’. Luhrmann emphasizes again the lackluster morality of the wealthy and presents a prevalent belief that people get married for the money, not the love. The film’s portrayal of the elusiveness and beauty of love is altered to fit the movie version. Love becomes more complimentary than the condemnation Fitzgerald made in his novel.
Luhrmann uses elements from film to create a highly stylized version of America’s Dream. The American Dream is often referenced, and the audience can see this through Luhrmann’s use of film elements that reconstruct the principle. Gatsby’s parties showcase the American Dream.
All that is associated with his parties speaks volumes about how much money they have spent. Luhrmann uses film techniques in a judicious way to strengthen the American Dream image. This image is further strengthened by Luhrmann using certain colours to signify particular motifs. Gatsby holds parties every Friday in “blue Gardens” to symbolize an illusionary state where people can forget about the real world and just drink away their griefs. His garden is a metaphor for the sadness his home feels when guests leave. It also highlights the melancholic connotations that blue has. Gatsby is surrounded by gold.
It is so common to associate Gatsby with the colour of gold that it can bring with it an ominous feeling. Gatsby has a car, ties, and even more, his money. Its boldness means even subtle uses of colour, like the yellow-colored dresses worn by the twin girls, stay with the viewers. The film’s most significant colour symbol is the Green Light. It is referenced several times throughout the film and is associated to the “unattainable dreams.”
Gatsby spends a day with Daisy, becoming an object that is within reach. Fitzgerald uses the mystery and vagueness of the lights to illustrate the paradox of Enchantment. This illustrates the theory that an object that was once a desire object becomes possible. By using colour and sound to alter the thesis’s original meaning, the American Dream can be reinforced.
The story of “The Great Gatsby” is filled with many perplexing subjects. The changes in form and year of production as well as the director’s vision can change how audiences interpret the novel. Luhrmann makes use of the lavish lifestyles of the wealthy to highlight the superficiality and inevitability of the upper society. Luhrmann draws attention by using symbols and sounds to highlight the American Dream belief system. The Great Gatsby scathingly deplores the actions, attitudes and behavior of the upper class. Luhrmann uses the visual advantage of his eyes to explain each contention.
