The Great Gatsby - Divine Decadence!

'Divine decadence, darling!' Liza Minelli's catchphrase to describe the decadent and hedonistic lifestyle present in Oscar-winning Cabaret and easily a phrase one could associate with Baz Lurhmann's latest cinematic foray. Now, Baz Lurhmann is one of cinema's most intriguing directors working today. From his first film, made in his native Australia, Strictly Ballroom, through to Romeo + Juliet, Moulin Rouge and Australia, Lurhmann's work is famed for dividing the audience. Nobody thinks Moulin Rouge is just OK, for instance; they either completely adore it (which I do), or they vehemently loathe it. It is for this reason (love him as I do) that I was a bit unnerved when I heard Mr. Luhrmann's latest venture was to be an adaptation of the classic American novel by F. Scott Fitzgerald. However, my fears were soon quashed when I emerged from the cinema having just witnessed a visually stunning and faithful adaptation of a truly great piece of fiction.

The film is told from the perspective of Nick Carraway (Tobey Maguire), a would-be writer though working in New York's Wall Street. Taking a small cottage upstate he soon learns of the existence of Jay Gatsby, owner of the grand mansion adjacent to his cottage. Intrigued by the apparently eccentric and rarely-seen Gatsby, Carraway gradually becomes friend and confidant to the man, in the meantime being dragged deeper and deeper into Gatsby's world.

Enter Gatsby, played to perfection by Leonardo Di Caprio. Reuniting with Baz Lurhmann after their collaboration on Romeo + Juliet (the film that put Di Caprio on the map), the film is clear evidence of how much Di Caprio has matured to become one of the go-to actors of his generation. Django Unchained showed us he can do ruthless and the villainous, but the character of Gatsby allows us to see he can play a more fragile and psychologically flawed character with great conviction and prowess. This is perhaps best shown off in the interplay between his and Maguire's characters (interestingly both Di Caprio and Maguire have been friends since boyhood, which makes the chemistry between the pair seem effortless).

Despite Di Caprio acting everybody else off the screen it is wonderful to see Tobey Maguire back on screen. Not having been present on the big screen for a while the character of Nick Carraway is perfectly played out by him. The external narrator both inside and outside of the action (as Carraway himself describes it) Maguire brings him to life with great humility. Carey Mulligan is also ethereal as ever, giving her embodiment of Gatsby's unattainable love, Daisy Buchanan, a sense of coquettishness as well as a genuine sense of being torn betwixt what is deemed right by society and what is deemed right by her heart.

As well as a feast of leading and supporting talent from its actors, as with any Lurhamann production, scale is everything. The film, from its very opening is a feast for the eyes, the ears, and any other senses we care to employ. The grand parties and the way in which the frenzy and hedonism of the roaring '20s is brought to life is a genuine feat of splendour. As is its soundtrack. Not content with using music confined to the period, Lurhmann employs contemporary music to create a fusion of the '20s glamour with a modern-day feel. With original music from Craig Armstrong, Lurhmann brings out the big guns with inclusions of Florence and the Machine, Lana Del Rey and Beyonce, to name but three! What this gives us is an exciting and fast paced sense of the glamour and the true decadence of the parties depicted in the story.

Now, that is all a lot of praise I must confess. Yet despite being fabulous as it is, it doesn't quite hit perfection. Some of the supporting cast (Isla Fisher, for example) can't quite keep pace with the big guns in the film. Another downside is length. Only a short book, the film approaches nearly two and a half hours, which makes the film feel slightly laboured towards its climax. Knock half an hour off for the DVD and all will be rectified. What Gatsby is though ultimately, is a wonderful piece of escapism. Lurhmann takes us back to a by-gone age of glamour, wealth and over-indulgence that for its two and half hours takes us away from the cares of a stressful 21st century and into a story of great depth, fun, and excitement.

Populaire - My 'Type' of Film

Readers of MurrayOnFilm will be aware of what a sucker I am when it comes to world cinema; especially French language films. I was therefore my usual chipper self when I toddled along to see the newly released Populaire. Directed by Regis Roinsard, the film has marketed itself on a cross between The Artist and the hit American 50s-set TV show Mad Men. Throw in a hint of Rocky and Bridget Jones's Diary (stick with me here) and what you have is a charmingly witty and sweet French comedy oozing with style and sophistication.

Set in the late 1950s, the film tells of Rose, a small-town girl determined to become a secretary and escape the shackles of her small village. Finding employment with businessman Louis Echard, it soon transpires Rose is an awful secretary. Yet it does allow her to utilise her greatest skill; Rose can type, and type fast! Seeing Rose's potential Louis enters into the regional speed typing competition. What follows is the blossoming relationship between the two characters, filled with witty banter and exciting montage sequences showing Rose's training and efforts in the typing contests.

Deborah Francois (The Page Turner), aside from being the future Mrs. Murray (dream on, boy!) excels as Rose, the initially naive small-town girl trying to make it big, yet proving more than a match for her slick and charming employer. Romain Duris (Heartbreaker) is also on form as Echard, the slick and charismatic businessman who spots and hones Rose's talent. A complex character with his own hang-ups, Duris gives us a nuanced performance and has great chemistry with his female counterpart. It is also wonderful to see the excellent and charming Berenice Bejo in a supporting role, making her first screen appearance since the triumphs of The Artist.

The main stars of the film though have to be the production team. The action taking place in 1958 and 1959, the team have ensured that each shot looks like the cover from a vintage edition of Vogue. The film drips with style and glamour, from the costumes right down to the decor. This is where the film owes its debt to the magnificent Mad Men, also set with the same era. Even Romain Duris' character is channeling John Hamm's Don Draper, slick and a consistent chain smoker! Quirky like The Artist, with the typing contests being fleshed out with the same excitement and intensity as some of our greatest sporting movies, with even a nod to Hitchcock's masterpiece Vertigo, the film is a triumph of style and substance and forever solidifies my love of not just French cinema, but cinema in its entirety.