Gatsby proves to be infantile and obsessive. Daisy is superficial, dishonest, spoiled and desperate for attention and luxury. This is not a great love story, and most likely Fitzgerald didn’t intend it to be. While Gatsby may be great in the sense that he worked hard to fulfill his wildest dreams, the problem is the content of these dreams. With the risk of sounding cynical : although one can understand the unquestionable attraction Gatsby might have felt for Daisy from their first encounter and confused it with love, it was rather childish and unproductive to pursue it mindlessly, without taking into consideration Daisy’s actual personality and for that matter, person – on whom he projected his feelings and vision of the future. The disaster was unavoidable – from the moment Gatsby reveals how everything has been planned having in mind the rich girl’s pretty face, as special as any rich girl’s face – a girl who often was bored of all those parties and tiresome events, lit up a cigarette, put on a serious face, even cried a little and pretended to be consumed by truly profound thoughts. The truth is they wanted richness and comfort – both Daisy and Gatsby. However, Gatsby was willing to temporarily sacrifice his comfort in his rabid hunt for money, while the fragile-yet-strong-cliché-feminine-character settled for instant peace of mind in the form of drunken nights in New York city, spent with her cheating husband and the determined millionaire lover who would do anything for her. Truth is – she could have settled having both men, leading a double life. Truth is she would have either run or stayed married while having an affair – she could have never told the world how she decided to love Jay Gatsby instead of Tom, the Polo player. The single admirable moment involving Daisy is when she proves to be honest and lucid enough to admit to herself and everyone present her ability of loving both Tom and Gatsby – in different manners and at different times. For the over-enthusiast, immature Gatsby this is impossible to accept, as if the Daisy in his mind had been secretly replaced by a different, strange, and harder to love version of her. Even though it seems that everybody is searching for true love – one way or another – nobody manages to actually experience it for too long. Gatsby’s death represents the end of a glimmering and hypocrite illusion – the illusion of success built on the vision of mad, consuming love for what proves to be ephemeral, like briefly believing in ghosts or miracles. The single real and coherent event proves to be Gatsby’s murder, his body crashing in the pool while his face captures for the last time his unwillingness to see his life as it really was: a poor young boy who clings to a world that does not want him, building castles out of dirt and theft for a girl who does not even show up before the empire is already settled. In this respect, one might understand the frequent references in the Gossip Girl series to The Great Gatsby’s theme, where Dan Humphrey proves to be both an embodiment of Jay Gatsby and of the narrator of the story, Nick Carraway.
Disclaimer : This review constitutes a personal account of the rights and wrongs of the main characters in The Great Gatsby story, as portrayed in the 2013 motion picture bearing the same title. It does not contain any remarks on the film’s aesthetic qualities, or directing skills or plot development. It is a hybrid between [‘’pop’’] philosophy and [“pop”] psychoanalysis, with their respective virtues and vicissitudes.
PICTURE TAKEN BY DAN ROŞU IN MAY 2013
EDIT BY RALUCA ROŞU