For all the digital glitter and anachronistic hip-hoppery that signifies our latest re-entry into Luhrman-land, The Great Gatsby itself takes fundamental inspiration from a black and white classic from 1941. Featuring a flashback framing device, a lonely and heartsick tycoon staring out of the window of a grotesque castle, and even a breathless deathbed “Daisy” uttered as if it summed up an entire life (like “Rosebud”), Gatsby is no less than Baz Luhrman’s Citizen Kane. Even his star, Leonardo DiCaprio is starting to resemble a Wellesian hero, at least in the jowels if not the girth.
So, no pressure, then, Baz – you’re only merging the great American novel and the greatest movie of all time. Of course, he can’t possibly succeed on his own unimaginably ambitious terms, but he falls a bit short on the basic “tell a story” level too – even if he manages to make some sequences sing.
Set in 1922 (and written by F. Scott Fitzgerald in 1925, well before the Jazz Age came crashing down into the Great Depression), Gatsby is the story of one man’s reinvention out of the trauma of World War One and into the longest, biggest (and most illegal) party the world had ever seen.
[pullquote]Fast & Furious is vast and curious[/pullquote]DiCaprio’s Gatsby has built a business empire out of the drug stores and speakeasies of Manhattan and a Xanadu on the shores of Long Island, all the while gazing longingly across the water at the house where Daisy Buchanan (Carey Mulligan) lives. Daisy is the last piece of his puzzle, she will make him whole and she will help him gain acceptance into the high society that scorns his dubiously-earned new money. He may also genuinely be in love with her, of course.
Three films this week point the way towards possible futures for cinema – and if two of them are right then we should all find another hobby. 
I was really enjoying 
There’s something very odd about the opening scenes in 
