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The Great Gatsby is the best dressed movie ever
made. Meticulously directed by Britain's Jack
Clayton, it is a puzzling and perhaps only partially
successfuljdaption of the F. Scott Fitzgerald novel
by the same name. But then most will be seeing this
film not to watch a version of Fitzgerald's view of the
arrogant neurosis of the Jazz age rich, but to fee what
Robert Redford has for them this time.
They won't be disappointed. The movie is colorful
in a beautiful, subdued way. It is simply buried in the
glamour that surrounds the people who play polo and
act rich together. Redford, as Gatsby, and Mia
Farrow, as his lost love Daisy who had married the
brash, athletic (and, of course, rich) Tom Buchanan
played by Bruce Dern), are just too gorgeous. They
are usually standing around like posing fashion
models, waiting for the photographers bulb to flash.
Combined with the light colored cars, clothes and
decorations, the film's soft focus photography and
lighting come closest to creating in color the gleaming
images that Josef Von Sternberg captured so well in
black and white in his old Marlene Dietrich films of
the 30s.
Everything in the movie sparkles. Ornaments,
jewelry, even eyes and teeth are all a mass ot little
twinkling reflections. If your eyes are hurting, the
whole thing is worth a double dose of Visine.
In one of the most sought after female roies in
recent years, Mia Farrow takes her Daisy and, despite
all her trappings, underplays it to near perfection. She
is, indeed, the "beautiful little fool" who was the 1
reason for Gatsby's life and, ultimately, his death.
greg lukow
Redford (who must be getting used to having his
hair, slicked back) is not miscast but he does have a
problem with his movie image. When Gatsby is
brutaily murdered by the poor, tortured garageman
(Scott Wilson, the best acting performance in the
movie) whose wife has just ben killed, the slow,
sickening death is hard to swallow. It is not because
Gatsby is sinking to the bottom of his bloody
swimming pool, but because things like that just
don't happen to Redford.
There has seldom been a movie as presold in
advance as Gatsby, and after its monumental build
up many critics believed the only thing to do was
bring it down. True, the film is slow moving, often
ponderous. Its eternal dwelling on external
ornamentation does sideline it from its real purpose.
But the film is entirely competent and certainly
crafted bv a filmmaker who knows a lot about style.
The script, by Francis Ford Coppola, seems like a
string of deliberate Miners, but most of the dialog is
taken directly from the book.
Ultimately the only real difficulty with Gatsby is
that in the hybridization of Fitzgerald's decadence
and movie glamour, it is hard to feel anything for
anyone. There is nothing romantic about Daisy and
Gatsby's reunion. They are only like all the other
delicate objects around them that are to be seen and
not touched.
Beautiful to look at, hard to appreciate, The Great
Gatsby makes a graceful, noble effort at being the
fine film it almost is.
Student chamber concert
ends performance class
Six student chamber ensembles and one sting bass soloist will
perform at 8 p.m. Friday at Kimball Recital Hall.
The string bass soloist, two trios, a string quartet, two wind
quintets and a flute, guitar duo will perform works by Beethoven,
Franz Josef Haydn, Paul Hindemith and ether composers.
The free concert culminates students' work in a music
performance course.
Glamour surrounds Mia Farrow and Robert Redford in Paramount' recently
released The Great Gatsby.
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page 8
daily ncbrasksn
thursday, spril 13, 1974