Film Analysis: The Great Gatsby

“When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have an unaffected scorn” (Fitzgerald 4). Nick goes west for a while, but comes back east to sell bonds. He rents a small gardener’s house in between Gatsby and another godly rich East Egg. After the meeting, Gatsby whisked Nick away to Gatsby’s grand parties, gantlet outings to the city, but all for the chance, for Gatsby to meet Daisy, Nick’s cousin. Daisy already taken into vows of an unsound marriage

The music gave the capability to parallel the book’s mood and still have a connection with the audience in this generation. Luhrmann practically took every step with the movie, he guides many aspects of the film form directing of the music. He shows part of the film to the artist to show them the emotion they need to portray to capture the essence of Scott Fitzgerald’s character. J.Z. and Luhrmann collaborated with a vast amount of artist to create a grand multi decade, movie soundtrack. Both connected with this generation’s style artist and a traditional swing band, along with the usual orchestral and additive riffs. All the collaborations do, a chance to connect through the music with some many artists; you have or may not have heard before, subconsciously building connections. To keep your attention, Luhrmann parallels most of the main characters, but spinning off in his own way some of the moving characters. Even though Nick does not physically start the story the same way, he has the same passive, understanding personality. The adventuress mouse, Nick still does not put up a fight with Tom during Tom’s secret getaway to Myrtle he seemed, even more willing in the adaptation. Tom’s self-arrogant, ass hat does not change from the book to the movie. Tom treats Daisy in both the adaptation and the movie, as a blusteriest thing while trotting about expecting she will never love

A true screenwriter, Woody Allen does not parallel the characters, but depicts each character, in most characters giving variety in the way of nodding to The Great Gatsby. To show Gatsby is emotional disappears in the book by appearing to physically disappearing, while in the trait touched Gil character, when he disappears into other times. When Inez frustrated Gil the first time, the car drove by at midnight and whisked him away from his problems. The key trait, emotional-physically disappearing connects Gatsby on a deeper level. Introducing known modern literary, authors Woody Allen connected the audience with the time of the Great Gatsby, as Luhrmann did with the music. When Gil walks into the speakeasy for the first time on the first night he meets, Ernest Hemmingway and Scott Fitzgerald. Picking known people that Gil idolized in the past he escaped into, created a relationship with Gil and in turn the story. A Frankenstein adaptation, Midnight in Paris nods too many different works of art, but the symbol of Gatsby expressed throughout the movie. Rich has been an often-used symbols in the Great Gatsby, Inez parents are a nod to Tom’s arrogant way of wealth. The rich dinner in the first set of the scene, intro the parents touches Tom’s way of showing his wealth, in a superior manner. The scene itself effectively portrays Tom’s wealth in Inez’s parents,