All along the idea in Baz Luhrman‘s The Great Gatsby (Warner Bros., 5.10) has been “let’s make Gatsby’s world our own…let’s make the affluent, rollicking aspects of Long Island’s North Shore in the early 1920s feel as glam and energizing to Baz and Leo and Toby and Carey and…well, to our post-Millenial sensibilities as it did to the folks who were actually there and living in F. Scott Fitzgerald‘s mercurial realm.
So forget the yesteryear time-travel vibe. This is now, this is us & we’re doin’ it…all new cars, fireworks in the night, breathtaking sex with perfumed ladies, exquisitely tailored suits and warm, sun-sparkled waters…party like it’s 2013 but in dress-up mode.
Just as Luhrman’s Romeo + Juliet was an infusion of ’90s urban Americana (guns, muscle cars, street gangstas) and high-style coolness into Shakespeare’s classic tragedy, substituting pistols for swords and Vera Cruz for Verona…roughly the same idea. Bring it down, make it our own.