Film Analysis Of The Great Gatsby

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The story The Great Gatsby, written by F. Scott and directed by Baz Lurhmann, is a story narrated in the first person by the character Nick Carraway , about a man called Jay Gatsby , and his love/obsession for a girl called Daisy Fay Buchanan , who is married to a man called Tom Buchanan . In this story, the director uses film techniques like characterization, setting, cinematography, soundtrack, and visual elements to portray particular ideas and themes in the story - but these techniques are over-the-top, inefficient, and sometimes completely unnecessary. Some of the themes of The Great Gatsby that will be discussed here are wealth, hope, and infatuation. Characterization within film can be either direct or indirect, and in The Great …show more content…

It does this by showing off the size of their mansions, where their mansions are (by the edge of a calm, beautiful lake), and by the scale of the parties that go on in them. Inversely, some other scenes show extreme poverty, in other areas of the city, New York, where people live in coal fields and are always sick and want change. By showing areas of great poverty and great wealth, the contrast between the two settings at its greatest. However, the audience gets a very clear idea of the wealth of Gatsby and the other main characters when the narrator describes it, as well as in some opening scenes, rendering the parties an unnecessary part of the movie. Additionally, the parties were so over-the-top and outrageous that is was difficult at all to establish any meaning out of them whatsoever, asides perhaps some non-reoccurring relation to …show more content…

In The Great Gatsby, cinematography is used excessively, adding too much emphasis on pre-established themes of extravagance and character-to-character relations. Eye-level angle shots are most common, with high angle/Dutch angle sweeping shots coming in second. The latter of these is used over and over during party scenes, as well as later to, in a way, further emphasize the size of Gatsby’s mansion by observing the characters as if from a height separate to the house. As mentioned, the audience should already have an idea of this, making the camera angles excessive. At the beginning of the movie, when the film first shows Gatsby’s mansion, a rising eye-level view is used, starting at the road and moving slowly up to an altitude just below the beginning of what would be the top floors of the mansion. Although this looks good, it is a peculiar choice of cinematography considering the supposed grandness and scale of the scene, and considering the bland, normal nature of the technique – used to help the audience relate to characters, not houses or lifestyles. Additionally used in excess are tricky camera shots about driving scenes – the view would go from tracking bird’s-eye-view to medium shots of the characters while they were driving, and they were always driving way too fast and unrealistically swerving through traffic and around corners – for a

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