The Great Gatsby: a Cinematic Critique of Society

Baz Luhrmann’s film adaptation of "The Great Gatsby" serves as a multifaceted critique of early 20th-century American society, exploring themes of equity, control, greed, betrayal, and the elusive nature of the American Dream. Recognized as one of the greatest American movies, it offers a cautionary tale about the perilous pursuit of dreams and the superficiality of social stratification. Through its vivid portrayal of gender roles and the objectification of women, the film also provides a poignant reflection on societal norms of the 1920s.

In this essay, we delve into Luhrmann's deliberate construction of distinct social classes and his commentary on the elitism that permeates each level of society, ultimately revealing the dangerous and unstable nature of the world.

Social Stratification and Elitism

Luhrmann skillfully divides the characters in "The Great Gatsby" into clear social classes, each grappling with its own set of challenges. By presenting the dichotomy of old money, new money, and no money, he sends a powerful message about the elitism and judgment entrenched within every social stratum. The rich, for example, are not a monolithic group in Luhrmann's depiction. Instead, they are divided into two distinct categories: those like the Buchanans and Jordan Baker, who were born into wealth, and those like Gatsby, who have only recently acquired their fortune. The former, known as old money, exude an air of elitism and superiority, often looking down on individuals like Gatsby, whose wealth is considered new and therefore inferior. This distinction underscores the belief that the source and longevity of one’s wealth are more significant than the amount itself.

The old money elite, represented by characters such as Daisy, Tom, and Jordan, are portrayed as judgmental and superficial, engaging in self-indulgence while maintaining an air of superiority. They rarely discuss business or work and instead focus on entertaining themselves with frivolities. Their disdain for Gatsby highlights their belief that he can never possess their level of refinement or taste due to his humble beginnings. This elitism is indicative of a broader societal issue, where individuals are judged not by their character but by their social standing and the origin of their wealth.

The New Wealth and Moral Decay

In contrast, those with new money, epitomized by Gatsby and his partygoers, are not portrayed much more favorably. While one might expect them to be more empathetic towards those less fortunate, given their recent ascent from poverty, they are shown to be equally absorbed in hedonism and excess. Gatsby’s parties, attended by individuals who indulge in his hospitality without even meeting their host, exemplify the moral decay of the era. When Gatsby meets his tragic end, the very people who frequented his home are conspicuously absent, reflecting the superficial nature of their relationships and their lack of genuine loyalty.

This depiction underscores a critical point: new wealth does not inherently bring about a sense of responsibility or compassion. Instead, it often leads to a transient focus on living in the moment, characterized by extravagance and overindulgence. Luhrmann uses this to highlight the emptiness of the pursuit of wealth for its own sake, suggesting that it leads not to fulfillment but to moral and social decay.

Power Dynamics and Gender Roles

Luhrmann also explores the power dynamics of gender and class, particularly through the character of Tom Buchanan. Tom epitomizes the patriarchal attitudes of the time, exerting control over those around him, including women like Myrtle and Daisy. In a society where women are seen as objects, Tom leverages his wealth and social standing to assert dominance. His interactions with George Wilson illustrate his class-based superiority, as Tom uses his financial power to manipulate and belittle George, who relies on Tom’s promise of selling a car to him. This interaction highlights the broader theme of class disparity and the exploitation that often accompanies it.

Tom's treatment of Myrtle and Daisy further exemplifies the objectification of women. Myrtle, desperate to climb the social ladder, becomes involved with Tom, not realizing that she is merely a plaything to him—an object to satisfy his desires. Tom's affair with Myrtle is characterized by his focus on her physical attributes, revealing his view of her as a mere sexual object. Similarly, Tom views Daisy as a possession, asserting ownership over her even as he cheats on her. His refusal to allow Gatsby to take Daisy away stems not from love but from a desire to maintain control. This dynamic reflects the broader societal view of women as property, devoid of agency or autonomy.

Conclusion

In "The Great Gatsby," Luhrmann presents a stark portrait of a society on the brink of collapse. The 1920s, marked by significant economic growth and prosperity, are captured in the film's frenetic portrayal of excess and indulgence. Yet, beneath the glittering surface lies a world headed for disaster, as evidenced by the impending stock market crash of 1929, which Luhrmann foreshadows through the film's depiction of moral and ethical decay. The characters' misplaced faith in social stratification, gender roles, and materialism leads to their downfall, serving as a cautionary tale for audiences. By highlighting these themes, Luhrmann not only critiques the world of the 1920s but also offers a timeless reflection on the dangers of prioritizing wealth and status over empathy and integrity. The film serves as a reminder that true fulfillment lies not in external measures of success but in the development of compassion and understanding—the very qualities that distinguish humans from mere creatures of habit and desire.

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