The Great Gatsby 1974 123movies

Watch: The Great Gatsby 1974 123movies, Full Movie Online – Nick Carraway, a young Midwesterner now living on Long Island, finds himself fascinated by the mysterious past and lavish lifestyle of his neighbor, the nouveau riche Jay Gatsby. He is drawn into Gatsby’s circle, becoming a witness to obsession and tragedy..
Plot: Nick Carraway, a young Midwesterner now living on Long Island, finds himself fascinated by the mysterious past and lavish lifestyle of his neighbor, the nouveau riche Jay Gatsby. He is drawn into Gatsby’s circle, becoming a witness to obsession and tragedy.
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Ratings:

	6.4/10 Votes: 25,352
	39% | RottenTomatoes
	43/100 | MetaCritic
	N/A Votes: 398 Popularity: 19.115 | TMDB

Reviews:

Don’t judge a book by its movie.
This version tries to stay very true to the roots of the story. It’s greatest detriment is its lavish budget, made evident from scenery and costuming. Coppola does an admirable job with his script, but it is impossible to fail to realize that he borrowed heavily from the source material, often citing it verbatim. In this sense, the plot is very faithful to the novel. The film fails to recapture the feel, mood, and spirit of the novel and of the twenties. Fitzgerald made Gatsby a very personal character. For him, there was always something unattainable; and for Gatsby, it was Daisy, the lost love of his life, forever symbolized by a flashing green light at her dock.

When it doesn’t try, the film captures the mood of the twenties. This is especially true during Gatsby’s first party, showing people being themselves. The majority the cast, particularly Mia Farrow, and with the exception of Bruce Dern (Tom Buchanan) play their parts as if they were silent actors. Even the flickering quality of silent film seems to haunt this film stock. It goes without saying the acting was overdone for the most part. This is true of the essence of the characters and of the times, although in the film, it is overkill. The set decoration was visually pleasing and it effectively captured the mood of each scene and the twenties.

This film, more than anything else, is a scary attempt of a tribute. In the novel, the green light, and the T.J. Eckleburg sign had significant meanings. Stranded in the film, they remain merely stripped objects. The set seems to attempt to “fix” Fitzgerald’s descriptions. Where in the book, Daisy and Tom Buchanan’s home is very inviting, the film drowns in whites and yellows in the film.

Actors aren’t exploited to its potential. Clayton fails to give us a relatable Gatsby, a crucial element to the novel. Redford could have played Gatsby very well. It’s not his fault that he doesn’t. When we are introduced to Gatsby, it’s through a low-angle shot of a figure seen against the night sky, framed by marble. This isn’t the quiet, unsure, romantic Gatsby on his doomed quest. This is the arrogant, loud and obnoxious Charles Kane, who knows he’s rich and isn’t shy about it. The scene where Gatsby symbolically reaches out to snatch the green light stays true to the book, but looks stupid on film.

Three essential scenes make the film seem even less credible. These are times where it is essential to portray Gatsby as the one we know and love from the novel. The first is the original meeting between Gatsby and Nick. Redford’s inarticulate and formality with Nick is laughable. It’s the first time we hear him talk, and he’s so mannered that the acting upstages the content of the scene. Nick is supposed to be so relaxed he doesn’t realize that he’s talking to a millionaire. Changing the location of this scene from in the party to the office is the cause for this dramatic awkwardness. This has to have been Clayton’s doing. This changes Gatsby’s character, and he Gatsby isn’t as sure of himself as the book had made us believe. Doesn’t that have to be Clayton’s fault? Using The Sting, Butch Cassidy and The Candidate as examples, we know Redford has enough versatility to play this scene several other, better ways. In the Gatsby and Daisy reunion (crucial moments to the picture) we see Gatsby’s smiling and Daisy’s stunned reaction held for so long, we wonder why Nick just doesn’t go out and smoke one cigarette, come back, and go outside again to smoke another one. He’d go through a whole pack. Any tension we might have had has been fed to ridiculousness. The other plot cliché that further adds to this product of celluloid silliness is Gatsby’s final scene. The way this is presented may work on stage and it certainly would work in a silent film, but here it is so hackneyed, so irreversibly awkward that any suspense is gone, and it looks silly.

The message of the novel, in my opinion, is that although Gatsby is a crook and has dealt with the likes of Meyer Wolfsheim, gamblers and bootleggers, he is still a romantic, naive, and heroic boy of the Midwest. His idealism is doomed in the confrontation with the Buchanan recklessness. This isn’t clear in the movie.

We are told more than shown. The soundtrack contains Nick’s narration, often verbatim from the novel. We don’t feel much of what we’re supposed to feel because of the overproduction and clichés. Even the actors seem somewhat shied away from their characters because of this. We can’t figure out why Gatsby’s so “Great”, or why Gatsby thinks that Daisy is so special. Mia Farrow’s portrayal of Daisy falls flat of the novel’s description. The musical quality of her voice has been replaced with shrills, and her sophistication has been stripped of her complexity. This is extremely evident by her Clara Bow acting style in this picture, especially in the scene where Redford is throwing his shirts on the floor and she starts crying.

How could a screenplay that borrowed so much of Fitzgerald’s novel be portrayed so inaccurately? When one reads a novel, it is up to the author to create his symbolisms from scratch. When a book is transformed into a film, the filmmakers must be sure to covey the symbols more than by merely showing them. They must still be carefully developed, whether by dialogue or more action. In the novel it works well. When translated to film symbolism is lost in translation.

As a film on its own, the technical qualities are excellent, and can be more than worth your while catching at least an hour’s worth just for the scenery, costuming, and for the few great scenes that successfully convey the twenties.

Beautiful but flat
F. Scott Fitzgerald’s The Great Gatsby may not quite be among the great literary classics, but it is a lovely book and a sentimental favourite. This film at least takes a noble stab adapting it, but it does come up well short. Its good points are really beautiful, but it does have too many flaws and it also comes across as flat. It is visually stunning with period detail most lavish and some of the loveliest photography of any 1970s period drama. The music is very authentic to the 1920s era and manages to be catchy and lushly orchestrated without being too glib or mushy. The Great Gatsby is also one of those films where the supporting performances are better than the leads with Sam Waterson and Scott Wilson giving the best performances. Waterson’s Nick is like the glue of the storytelling and does it with charm, sympathy and dignity, while Wilson is very touching and haunting as Georhe, a very conflicted character. Karen Black has a ball, Lois Chiles is entrancing and witty(part of me thinks that she would have made for a better Daisy) and while Bruce Dern may not fit the role of Tom physically he is very oily and brutish and gets the attitude and mannerisms spot on. Aside from being too overlong and too leisurely paced, the major debits are the lacklustre leads and that it suffers from being too faithful, sorry about parroting what others have said but it just goes to show that it is the general consensus. Robert Redford is very handsome but his Gatsby rather uncharismatic and too restrained, while Mia Farrow is the anti-thesis, playing Daisy much too stridently that she comes across as irresponsible and annoying. The two don’t have much chemistry between them either. Francis Ford Coppola’s script and Jack Clayton’s direction do deserve credit for making an effort to be faithful to the book, that’s never been compulsory in adaptations but it does help. Sadly that doesn’t work, an example of being too faithful suffering from sapping the life, passion or emotion out of the content. The script is far too dry and wordy, also more skimming-the-surface quality rather than having depth, and while Clayton does try to allow the drama breathe because the drama is so stillborn as a consequence of how it is written it comes across as too languid. All in all, very beautiful to watch and listen to with a good supporting cast but the lack of depth and the dull pacing as well as the leads being not up to the task it is also very flat. 5/10 Bethany Cox

Other Information:

Original Language en
Runtime 2 hr 24 min (144 min)
Budget 6500000
Revenue 26533200
Status Released
Rated PG
Genre Drama, Romance
Director Jack Clayton
Writer F. Scott Fitzgerald, Francis Ford Coppola
Actors Robert Redford, Mia Farrow, Bruce Dern
Country United States
Awards Won 2 Oscars. 7 wins & 3 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Stereo
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory Eastman Kodak, USA (uncredited), Movielab, USA (uncredited) (prints), Rank Laboratories. UK (processing), TVC Laboratories, USA (processing) (as TVC)
Film Length N/A
Negative Format 35 mm (Eastman 100T 5254)
Cinematographic Process Spherical
Printed Film Format 35 mm