- Cast: Leonardo DiCaprio, Tobey Maguire, Joel Edgerton, Carey Mulligan, Isla Fisher, Jason Clarke, Elizabeth Debicki, Amitabh Bachchan, Gemma Ward, Callan McAuliffe, Daniel Newman, Jack Thompson, Jacek Koman, Vince Colosimo, Barry Otto, Stephen James King, Goran D. Kleut, Max Cullen, Felix Williamson, Drew Pearson, Kate Mulvany, Arthur Dignam, Brendan Maclean, Kim Knuckey
- Director: Baz Luhrmann
- Writers: Baz Luhrmann, Craig Pearce
- Producers: Lucy Fisher, Catherine Knapman , Baz Luhrmann, Catherine Martin, Douglas Wick
- Co Producer: Anton Monsted
- Executive Producer: Barrie M. Osborne
- Art Direction: Ian Gracie
- Castings: Nikki Barrett, Ronna Kress
- Costume Design: Catherine Martin
- D.O.P.: Simon Duggan
- Editors: Jason Ballantine, Jonathan Redmond, Matt Villa
- Makeup: Diane Dusting
- Music: Craig Armstrong
- Production Design: Catherine Martin
Based on the classic novel by F. Scott Fitzgerald. The story follows would-be writer Nick Carraway as he leaves the Midwest and comes to New York City in the spring of 1922, an era of loosening morals, glittering jazz and bootleg kings.
Chasing his own American Dream, Nick lands next door to a mysterious, party-giving millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering, blue-blooded husband, Tom Buchanan.
It is thus that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, within and without the world he inhabits, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, and holds a mirror to our own modern times and struggles.
- Aspect Ratio: 2.35:1
- Filming Locations: Sydney, Australia
- Production Budget: $127 million
- Production Companies: Bazmark Films, Red Wagon Productions
- Production Schedule: 1 September 2011 - 23 December 2011
2013 Guide Analysis: "Here you have one of the most thematically dense novels of the 20th century, one stuffed with symbolism and allegory - a work so literary that none of the three previous cinematic adaptations ever did it anything close to justice. Yet the person to crack it this time is Baz Luhrmann, a filmmaker who is essentially all surface and a devout believer of the "more is more" approach?
Granted, in some ways the "Moulin Rouge" and "Romeo + Juliet" director is perfect for the material. With his meticulous attention to detail in regards to costumes, make-up, art direction, production design and score, his films are visual and auditory feasts brimming over with spectacular sets, sumptuous clothes, anachronistic music and lavish indulgences.
That's combined with a story showcasing the spectacle of America's roaring 20's, and the indulgent excesses of the wealthy and their hangers on. One the single greatest time periods for fashion and design, giving the flapper dresses and art deco architecture a more contemporary and immediate energy is what he's great at.
More concerning is whether he and co-writer Craig Pearce could adapt the material without chucking all the subtlety out the window. Portraying the disillusionment of Nick, the hollowness of high society, and the overall disintegration of the American dream is a tricky and demanding task for even the most disciplined of filmmakers. Would Baz be able to curb his operatic excesses to deliver a meaningful take on the material?
The first trailer released earlier this year answered that question loud and clear. Rather than trying a different and more grounded approach, Luhrmann has doubled down on his strengths to deliver a highly stylised and melodramatic take with awkward line deliveries and a lot of green screen. It has drawn comparisons to "Sucker Punch" of all things, yet it's also oddly compelling and I have found myself re-watching it more than I expected.
Mulligan and Edgerton in particular look well-suited for the project (Maguire not so much), and one has to consider that an 'out there' approach like this might have more success adapting Fitzgerald's novel than the failed straightforward adaptations thus far. Over budget, over time and over produced, it's certainly a film with commercial rather than critical ambitions which explains its half-year delay from this Christmas to early Summer. Some will call it a fresh spin on a classic and others a pile of glittering garbage, I can't wait to see which side of the line I fall."