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Rewriting the Mona Lisa

Tuesday, 14 May, 2013

The Great Gatsby “How I rewrote ‘The Great Gatsby'” was the Telegraph headline yesterday. That did not bode well as everyone knows rewriting The Great Gatsby is as just as impossible as repainting the Mona Lisa. Of course, online versions of newspapers have to lure readers and so-called “link bait”, while blatantly dishonest, is part of the journalism trade today. The hooked reader then discovers that the headline changes to “Craig Pearce, co-writer of Baz Lurhmann’s ‘The Great Gatsby’, reveals all.” That’s slightly less bombastic, but Gatsby fans will be alarmed to read that, “At the end of our first months working in Australia, our screenplay was four hours long.” If the author of Gatsby could create a masterpiece with just 180 pages of prose, what is the need for four hours of screenplay?

Pearce gives the game away when he writes, “One of the things that makes Gatsby so potent is Fitzgerald’s gorgeous, poetic prose, and it’s very hard to recreate that cinematically.” The “very hard” there is one of the great understatements of our time because the more fitting term would be “impossible”. No one can film this:

“The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light.”

Now, just because the ethereal beauty of these words cannot be filmed it does not mean that Baz Luhrmann was wrong to attempt to capture what they say for the screen. “Ah, but a man’s reach should exceed his grasp, Or what’s a heaven for?” wrote Robert Browning and it is very brave of Luhrmann to risk the opprobrium that will appear here on Friday if it turns out that he mistook the rewriting of Craig Pearce for the impressionistic painting of F. Scott Fitzgerald.


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