When I hear the title ‘The Great Gatsby’, several things come to mind. The first is my A-Level literature teacher – Eileen Cheers. Eileen was an old woman, pushing on retirement, with the most perfect reading voice I have ever heard. She read the book out softly, in a husky whisper. It made you feel sleepy, relaxed – it took you back to your Grandmother reading you stories just before bedtime.
The new Great Gatsby trailer however, is anything but a relaxed affair. This is Moulin Rouge having a love child with your bookcase, all to the soundtrack of Jay Z and Kanye West. Not surprising when you consider Baz Luhrmann is the director to this new adaptation. While other directors have gone for smooth jazz and subtle glances, Mr. Luhrmann has done a 21st Century translation. He gives us decadence, hip hop, debauchery – Leonardo De Caprio’s face.
I would be lying if I said I wasn’t excited, and a little bit scared. Excited in the sense, the trailer has built this up to be an exciting affair. I’ll be going into the cinema expecting scantily glad women scissoring in large martini glasses. And scared because that’s what I might actually get. Scared that in among the bling and the show girls, the soft, heart aching life story of Gatsby will be lost under boob glitter.
Hopefully my fears won’t come true. I sheepishly admit to squealing a little when the eyes of T.J. Eckleburg. That faithful bit of imagery that has helped me, and countless other A Level students get by in an exam. And then of course there is Carey Muligan, perhaps my favourite actress of the moment.
If there is anyone that can portray subtle heartbreak it is she. Where Grazia admit to having doubts of whether Carey could pull off the role of Daisy, I have always had an unwavering faith in her ability to pull off this iconic role. As I watch her films, I’ve noticed more and more, what it is that makes her my personal favourite.
It’s her ability to make the audience love her.
While other, more conventionally ‘sexy’ actresses walk onto the screen and ooze sex appeal. Carey steps into a film, merely stares into the camera, whispers one or two lines and POOF we’re in love. In Drive, when she lay in the hallway, staring up at Ryan Gosling we could feel that tug on our hearts. She is not merely an object to be lusted after, as so many actresses are, but a fragile little bird that we want hold in our hands but can’t for fear we might crush her.
Instead, like the eyes of T.J. Eckleburg we are forced to watch her. And watch this space for the release in Christmas 2012.