Would Gilles Jacob, the director of the Cannes Film Festival, see it as a godsend or a knee-jerk reaction to American studios? That Baz Luhrmann's The Great Gatsby Wednesday's opening film certainly means spectacle and a lot of attention. But it is not a world premiere, and that is not what we are used to from the world's premier film festival. The Great Gatsby, starring Leonardo DiCaprio in the title role, already premiered in the US, Canada and a few other countries on 10 May. It does draw a little how in reality the balance of power is. It is studio Warner Bros. that pulls the strings.
On a somewhat smaller scale, we also notice it here. The American head office of Warner has determined that reviews may not appear in the Dutch media until Wednesday. Even though everyone with an internet connection has already been able to read the American reviews, which were not entirely favourable.
On a more positive note, The Hollywood Reporter believes that we will see from Luhrmann (Moulin Rouge, Romeo + Juliet) can now expect it to be over-the-top. Reviewer Todd McCarthy thinks that this excess actually suits the protagonist, although it deviates greatly from the original style of F. Scott Fitzgerald's novel about the nouveau riche in the 1920s. "The cast is first-rate, the whole entourage is intoxicating and the theme around the American dream and love lost, recovered and lost again is tackled tenaciously."
Peter Travers of Rolling Stone, on the other hand, believes he knows Fitzgerald is now turning over in his grave. "Apart from the stunning splendour of Catherine Martin's costumes, there is nothing that works." And: "There may be worse films this summer than The Great Gatsby are, but no bigger disappointments."
Fortunately, the leading trade magazine Variety sees it in a more nuanced light. "Accusing Luhrmann of overkill is like blaming a leopard for its spots," it said. Critic Scott Foundas finds that extravaganza "undeniably fascinating, at least for a while".
Competitor Screen Daily also detects plenty of bright spots and favourable commercial prospects. Tim Grierson concludes, "Despite the lack of nuance, the confident Luhrmann almost gets his bold vision to succeed in its own way. However, it is ironic that The Great Gatsby is at its best in the relatively subdued finale by Luhrmann standards."
From Thursday 16 May, everyone can make their own judgement here at the cinema.
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