The Great Gatsby - Review
Restraint? Moderation? Say these words before the director Baz Luhrmann, and he good-naturedly shook his finger at his temple, considering that you crowed some unknown foreign-speaking gibberish. Truly, his megalomania impressively grotesque. Since it would have become the paddock pets go out with a squadron of elephants, and to engage targets at a shooting range to cause ballistic missile attack.
And the man called to tell us of the transience of a decadent lifestyle in American society 20s? Peculiar. Promise-that he, say, informed - thanks to the excellent acting, the providing dryanstvo human characters. But that's their way of domestic Luhrmann clearly is in shameless delight, even if not trying to make excuses. However, it is hard not to share his enthusiasm - so unbridled feast barely fit in the imagination. It's as if Alice in Wonderland and Cirque du Soleil together celebrated the new year. Now, any representation of parties in a movie pass for risk rotten and dull work day on the background of this dashing holiday revelry.
Traditionally abundance narration is rightly considered bad manners and fu-what-dirty trick. Not at this time. Yes, the narrator in the face of Maguire's practically shuts up - it's true. However, his speech - not zevotny comment perdiva Russian football match, and often lush and imaginative verbal grace. But the most important thing - it seems that Joe Wright with "Anna Karenina" has set the trend of how to approach the film adaptation of the classics. I mean, do not be timid in experiments with filing, maintaining respect for the original.
"The Great Gatsby" is shot fresh and inventive, not sparing equally no money, no fantasy. Luhrmann came up with a huge number of spectacular directorial lotions to author's remarks have not covered the attention. Pilot put the camera as if a fighter pilot, plying the sky with a mad cowboy cry in a dizzying pirouettes. Text and visualization as well complement each other, just a sin rebuke directed at the lazy it to the screen. Resourcefully screwed modern soundtrack, it should be assumed as many will like.
With all the external pomp of a "Gatsby" and with meanings in order. While the creators of the other ninjas sneak to subtly and quietly play on the audience's heart strings, Luhrmann treats jewelry work on his own. Huge sledgehammer narrative that says "think here!" He violently on the head figachit watching. It's like a mighty blacksmith hammering gyrus straighter in order to avoid harmful izgibistyh congestion. Repetition - the mother of learning, and the same symbols are hammered over and over again with the extraordinary persistence. With this approach, even a simpleton, let the whole session drooling in a glass of Pepsi-Cola, has the potential to vaguely grasp what was going on.
This makes the film easy prey for snobs. Of course, they will be pathetic grumble about the plane and the lack of depth in this adaptation, but they should not be conceited hiss confusing. In the end, the characters are regularly raid ambiguity and diversity, followed by the legacy of the original paper is guessed. Luhrmann's plan is not the most astute in the world, but it works - and flawlessly. Decoupling their power simply must provoke violent emotional vibrations up to heartfelt blowing your nose into handkerchiefs and gentle sobs from the back row.
Litsedeysky ensemble of bending over backwards to the beautiful picture is not overshadowed his efforts. Is that Spiderman retired couple lost, but his ne'er-do-bug-eyed compensate everyone else: from bychara-husband Joel Edgerton to grimy bowser Jason Clark. DiCaprio and raging all gave excellent role for the second year. Joint efforts of these comrades managed to hide behind a facade of magnificent fireworks heartfelt story of love and pure dream man with extraordinary sense of hope.