Baz Luhrmann‘s fifth feature finds him tackling The Great Gatsby, F. Scott Fitzgerald’s classic 1925 novel. It’s the book’s sixth cinematic adaptation; I’ve never read the novel, so I judged this one purely on its merits as a film.
The story unfolds through the eyes of Nick Carraway (Tobey Maguire), an optimistic young man who arrives in New York hoping to break into the bond business. He reconnects with cousin Daisy Buchanan (Carey Mulligan) and her domineering, unfaithful husband, Tom (Joel Edgerton). Nick is soon drawn into the orbit of his mysterious, impossibly wealthy neighbour, Jay Gatsby (Leonardo DiCaprio), a man whose extravagant parties mask old wounds and unspoken longing.
More on Screen Realm:
From the opening frames, Luhrmann thrusts us into a hyper-stylised 1920s New York. His camera darts and swoops through a glittering digital cityscape, reminiscent of the breathless introduction to Paris in Moulin Rouge. Characters burst onto the screen, the soundtrack pulses, and the visuals flirt with sensory overload. It’s quickly clear we’re in for a film where spectacle and drama wrestle for dominance.
Visually, it’s a knockout. The production design, costumes, and CGI collectively create a world that’s dazzling to behold — almost postcard-perfect. On the big screen, it’s sumptuous. Yet the lush surface occasionally clashes with the emotional weight the story is trying to convey. At times, the film feels as though it needs to exhale, slow down, and trust the drama to carry itself. Instead, the constant barrage of colour, music, and rapid-fire editing dulls some of the deeper impact. The hip-hop infusion, an audacious choice, doesn’t always settle comfortably into the period either.
Still, sheer entertainment value carries the film a long way. Luhrmann’s energy remains infectious, and despite its hefty 142-minute runtime, the film rarely drags.
As for the performances: they’re terrific. DiCaprio is pitch-perfect as Gatsby, capturing both the suave exterior and the fragile idealism beneath. Maguire brings earnestness to Nick’s perspective, anchoring the film even as the world around him spirals into excess. Mulligan gives Daisy a delicate mix of charm and melancholy, while Edgerton attacks Tom Buchanan with an intensity that never feels forced.
In the end, The Great Gatsby may not reach the heights it aims for, but the craft on display — both behind and in front of the camera — is undeniable. Fans of Luhrmann’s signature flair will find plenty to enjoy, but the emotional core sometimes gets lost beneath all that glitter. More restraint, and the drama might have resonated far more powerfully.
