 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Jay-Z mispoke, right? Armstrong was the composer, right?
Craig Armstrong wrote the original score but Jay-Z was brought in to work on it as well [much like the multiple composers on Romeo+Juliet} and he is a producer on the film as well.
This is so far one of the best soundtracks of the year.
Lana Del Rey's YOUNG AND BEAUTIFUL is just amazing!
New songs from The XX and Florence + The Machine plus music from Jay-Z, Sia and Andre 3000... cannot wait!
As for the THE GREAT GATSBY with Robert Redford and Mia Farrow... it is a rather faithful adaptation in the sense that it follows the major plot points but it really lacks the heart of the story and feels rather flat in many ways and as a fan of the novel I couldn't connect at all.
It's one of those films where I can't fault the cast, crew, or really anything but for whatever reason I just found it detached and boring.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Gatsby is essentially unadaptable, I think - because it exists at the pace of the reader, allowing them to linger in the moments so wonderfully brought to life, with the inimitable imagery of Fitzgerald. Sure, the moviegoer can see the eyes of T.J. Eccleburg, or the green light across the way, or even the unique characters that live in Gatsby's parties - but it's in the way Fitzgerald puts it together. Gatsby isn't a temporal experience. In a way, it's a bit like Robert Altman's description of jazz - it's a moment, not a thing - and something as fleeting and permanent as that I don't think can fully be captured in a linear dramatic form where there's no "stop button," where the reader is unable to go back and forth and luxuriate and embrace and explore the ins and outs of each sentence and character - and the language is really the main character and force in the novel. I don't think any of the adaptations thus far have been totally successful (they tell the story, but little else), and I don't think Luhrmann and his excesses will do the trick either.
All that said, Nelson Riddle's score for the Jack Clayton version is sublime - the adaptations are magnificent, and the original scoring is really lovely - a well deserved Oscar. I started a thread on Intrada's "Suggestion Box," extolling the score's virtues, and asking for a release - I welcome any of you registered there to add your two cents, and maybe we can convince someone (Intrada, Kritzerland, La-La Land, etc.) to put out Riddle's magnificent work. Certainly, with the new version coming out soon, the timing is right (maybe Intrada or Kritzerland have it up their sleeves for May?), and it would have the benefit of a little bit of cross-promotion (presuming that would be allowed) - but it'd be great to see it released sometime in 2013.
End of blathering. Apologies to all.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Apr 26, 2013 - 6:47 PM
|
|
|
|
By: |
edwzoomom
(Member)
|
Gatsby is essentially unadaptable, I think - because it exists at the pace of the reader, allowing them to linger in the moments so wonderfully brought to life, with the inimitable imagery of Fitzgerald. Sure, the moviegoer can see the eyes of T.J. Eccleburg, or the green light across the way, or even the unique characters that live in Gatsby's parties - but it's in the way Fitzgerald puts it together. Gatsby's isn't a temporal experience. In a way, it's a bit like Robert Altman's description of jazz - it's a moment, not a thing - and something as fleeting and permanent as that I don't think can fully be captured in a linear dramatic form where there's no "stop button," where the reader is unable to go back and forth and luxuriate and embrace and explore the ins and outs of each sentence and character - and the language is really the main character and force in the novel. I don't think any of the adaptations thus far have been totally successful (they tell the story, but little else), and I don't think Luhrmann and his excesses will do the trick either.
All that said, Nelson Riddle's score for the Jack Clayton version is sublime - the adaptations are magnificent, and the original scoring is really lovely - a well deserved Oscar. I started a thread on Intrada's "Suggestion Box," extolling the score's virtues, and asking for a release - I welcome any of you registered there to add your two cents, and maybe we can convince someone (Intrada, Kritzerland, La-La Land, etc.) to put out Riddle's magnificent work. Certainly, with the new version coming out soon, the timing is right (maybe Intrada or Kritzerland have it up their sleeves for May?), and it would have the benefit of a little bit of cross-promotion (presuming that would be allowed) - but it'd be great to see it released sometime in 2013.
End of blathering. Apologies to all.
Not blathering at all. No need to apologize. You have described the essence of Gatsby exactly. The post WWI period of the Roaring Twenties was the "ultra pro-capitalism" era. If this is what you come away with, then Fitzgerald has worked his literary magic. The ethereal, mysterious performances of Farrow and Redford in the 1974 movie brought me back to a second read of the novel. The presence of Sam Waterston (love the nom parfait Nick Carraway)and Bruce Dern as slick Tom Buchanan topped off the movie for me. However, the final layer was Riddle's score. It was one of the first post 1950's scores I fell for. I would also love to see the score resurrected and re-released. Would a petition help?
|
|
|
|
|
|
|
|
|
|
|
If most of the soundtrack is "songs" by Jay-Z and his ilk, that's a point against the film for me. True, faddish music of the moment is a money-making strategy, and some films with adult music have done poorly with young people. I didn't see RED TAILS, but I seem to recall that George Lucas refused the studio's desire for a hip hop soundtrack, and the film did not do well.
But despite Jay-Z et al, the GATSBY trailer made me want to see it. The bright, ostentatious, period look of the whole thing seems outstanding and gorgeous, like MAD MEN with the energy dial turned up to eleven. I do like some color saturation when I can find it.
But then I recall the trailer for SKY CAPTAIN AND THE WORLD OF TOMORROW was also bright and colorful, and the film itself was dialed down to gray. So there's a chance the GATSBY ad is similarly misleading. Maybe it goes against common sense and would be stupid to fade GATSBY's color down, but that's what some directors insist on doing.
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
May 17, 2013 - 2:54 PM
|
|
|
|
By: |
lexedo
(Member)
|
The book had heart? I remember it being basically 200 pages of people talking about how much they loved money. It's perhaps the ultimate pro-capitalism novel.
Daisy's "What Gatsby?" is perhaps the greatest "lost(-and-can-never-be)" love lamentation in all of literature. There are many themes in the book, and even better, a love story. Read it again amigo.
I had to read it twice in high school. The book's obnoxiousness made it near impossible to read both times.
Buscemi, Buscemi, Buscemi - I am very surprised young wise one.
But I am a patient fella, and you've given me David Holmes recommendations before, which I actually passed on to others BTW (viz., Haywire, Out Of Sight). One time, I hooked-up w a drunk chick, and she thought I looked like Steve Buscemi. (And that's why I never called again. But I never do anyway.)
Back to Gatsby. You are reading Nick's words too literally, B. We wouldn't take Archie Bunker's words literally, but rather, accept them for highlighting relevant social issues. Do the same w Nick, and you will see the greatness in FSF's masterpiece. Promise.
Re-read the part where Nick describes Wolfsheim, or when Nick decides to go back to the mid-west. But don't take the words literally, determine the social message FSF was conveying. This should be right in your sweet-spot, and align well w your personal beliefs and philosophies.
|
|
|
|
|
|
|
Brilliant.
Absolutely brilliant.
An amazing adaptation of an amazing work of literature.
check it out !!!!
bruce
ps
I loved Armstrong's underscore. Is it available?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
If the question is still relevant
I can sell it to you.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
