Baz Luhrmann is known world wide for his eccentric and flamboyant film-making style. Luhrmann’s signature bright colours, fast-paced camera-cuts and zooms, and bold costumes are all key characteristics of his films and assist Luhrmann in putting forward the themes and motifs he regards as essential in each of his works. However, Luhrmann still receives much criticism for not staying true to the original source material of the stories he introduces to the big screen. One fails to realize the fact that, “Luhrmann’s films are not so much adaptations as re-imaginings” (Vogue Magazine) and through analysis of his various techniques, as well as his overall cinematic language in his films, “Strictly Ballroom” (1992), “Romeo + Juliet” (1996) and “The Great Gatsby”, one can see this clearly, through Luhrmann’s evolution as a director. Luhrmann makes his films his own from the start, the opening scenes of all three of these films implement post-modern techniques which instantly informs the audience that they are entering into Luhrmann’s …show more content…
The reason for these notable changes to the original settings is because Luhrmann chooses to appeal to a modern day audience rather than regurgitate the same old setting that would have appealed to the people at the time the source material was written. Similarly, Luhrmann satirises the dance world in “Strictly Ballroom” and chooses to stray away from naturalism, preferring rather to go for over the top use of make-up, wild costumes and unorthodox use of camera cuts and zooms in order to put forth the themes he finds essential, staying true once again to his personal philosophy of cinema, a reel (artificial) rather than real (natural) approach to film
The Bronx in the late 1970’s was a scene of corruption, crime, and disco music. A counterculture surrounded by hip-hop music, dance, art, and lifestyle emerged as a response. In the 2016 Netflix drama, The Get Down, created by Baz Luhrmann and a team of collaborators, the story of Ezekiel’s youth in the South Bronx unfolds with an adult Ezekiel, or Zeke, guiding the journey. Merriam-Webster’s dictionary defines a character as having “a set of qualities that make a place or thing different from other places or things.” The South Bronx in the late 1970’s was a distinct setting with distinguishable characteristics that played a major role in bringing about Ezekiel’s journey as well as continually impacting his choices.
True Intentions Love is an overpowering part of human nature, and no one can deny it or ignore the sacred harmonies love plays on the heart. In the novel The Great Gatsby written by F. Scott Fitzgerald, and the film The Great Gatsby, released in 2013 and directed by Baz Luhrmann, the audience is exposed to a character known as Jay Gatsby and his pursuit of the woman he loves, Daisy Buchanan. The actions of Gatsby and Daisy are displayed through the theme of wealth, and reveal their true intentions towards each other as time and events go on.
The most effective of the film that represents the novel “The Great Gatsby” by F. Scott Fitzgerald is the film “The Great Gatsby” directed by Baz Luhrmann (2013). In comparison, the “Midnight in Paris” directed by Woody Allen (2011), which did not have any effectiveness due to little reference to the actual novel. In Midnight in Paris, they did not reference the novel as much as they should have but the movie did great. Baz Luhrmann did more with the movie as like the book where characters mostly matched personalities.
Scorsese’s expertise as the director of the film Goodfellas, and Luhrmann’s direction of The Great Gatsby (2013), set the stage in New York, which fashionably suits both directors, and drives those hit films shoot to frame their nominations for Academy Awards, and leave the viewers dramatically in the mood of the film’s wise guy era or roaring in a 1920’s
The film the Great Gatsby, directed by Baz Luhrmann is a faithful adaptation to the novel the Great Gatsby written by F. Scott Fitzgerald. The Great Gatsby was published in 1926 and follows a young man named Nick Caraway as he narrates the story telling us about the roaring 1920s and all about the Great Gatsby, that is until the story unfolds and we see who the Great Gatsby really is. The film by Baz Luhrmann is a great example of a faithful adaptation to the novel, as it captures the spirit and ideas that the novel did. Throughout the film version of the Great Gatsby the point of view shown is very similar, this can also be said for the characterisation of most characters especially Daisy. However, the film by Luhrmann differs from the novel
For Gatsby, is utterly infatuated with Daisy, but dear Daisy is already taken into vows of an unsound marriage. The Baz Luhrmann’s adaption and Woody Allen’s homage connect to the novel The Great Gatsby through: Characterization, Theme, symbolism and Music creation a captivating experience for the audience. The 2013 Baz Luhrmann adaption brought new vibes to connect an older story to a new generation. The music gave the capability to parallel the books mood and still have a connection with the audience in this generation.
Baz Luhrmann, Director of The Great Gatsby, demonstrates how the pursuit of an ideal may be promising, however, it can also easily lead to destruction, due to the course of action taken for achievement. This is significant since Gatsby was driven to the point of using dirty money in order to obtain wealth, which leads to Gatsby’s shaming, and ultimately, the death of others and of he himself. Luhrmann expresses emotion and awareness by using
Film noir is a cinematic style that began in the early 1940s that focused on the crime and corruption that occurs in everyday life. Film noir was influenced by two major film movements, German Expressionism and French poetic realism (Schrader 8). While German Expressionism influenced lighting techniques, realism affected narrative and cinematography. The Great Depression and World War II shaped film noir’s cynical tone that fate is uncontrollable. A classic example of film noir is the 1945 film Detour, directed by Edgar G. Ulmer.
Going to the universities’ library earlier this month to rent three films, - 500 days of Summer, Annie Hall and High Fidelity- was the first step to my critical writing and analysing process. I spent some time at home, to watch these three completely different movies. Although there is one theme that captures the common motif in these three movies, the theme Romance. The standard model suggests that a film wherein the plot revolves around the love feelings and love between two protagonists can be defined as a romance film. It is a well-known fact that love makes people do strange things, Shakespeare himself even said: “Love makes blind”.
A Contrast of American and Italian Comedy Films Ari Mont IS 220 - Prof. Bini There is no prototypical film from any part of the world, let alone ones with such illustrious histories as the United States and Italy. Yet, because filmmaking is an art that is so dependent on borrowing cinematographic and writing styles from those nearby, it is inevitable that some patterns will emerge. This essay will take a look at two films from the same time and the same genre, one American and one Italian, to discover where the differences are and where similarities exist. Despite both being comedy films that premiered two years apart, Billy Wilder’s Avanti! and Franco Brusati’s Pane e Cioccolata exhibit some very different stylistic and writing
Tim Burton’s cinematic technique of color, is to establish the tone of the scene. For example, in Charlie and the Chocolate Factory, the first impression we are given of Charlie is that he is insignificant and small compared to the other greedy children. Charlie’s modest, plain-colored clothes is pitiful compared to the other children wearing bright, colorful clothing. The color palette of Charlie and his grandfather clearly indicate that they are not as wealthy as the other families, and Charlie’s humble home even demonstrates this as well. The exterior appears to dark and bland compared to the other children’s finely decorated houses, however inside, a fireplace gives off a warm color tone, a sense of comfort and warmth.
Depictions of Extravagance The “Roaring Twenties” was a time of great prosperity in America. F. Scott Fitzgerald captures the booming spirit of America in his book The Great Gatsby through his grandiose description of Gatsby’s parties. Baz Luhrmann draws from both The Great Gatsby and Hieronymus Busch’s “The Garden of Earthly Delights” to portray his own cinematic interpretation of this time period. Philippa Hawker analyzes Baz Luhrmann’s Gatsby parties and depicts their lavishness in her article “The subtle art of staging Gatsby's lavish parties.”
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
Thus accomplishing what I call, the art of a making a film look like a film. The Grand Budapest Hotel is his artistic manifesto, combined with masterful storytelling and one of the most aesthetically pleasing cinematography one can ever
In both the films Romeo and Juliet and The Great Gatsby Baz Luhrmann uses the same specific style of storytelling to ensure his audience remains captivated throughout the entire movie. Through the editing choices, lighting, camera work, music choices and actor choices he shows how his style grips the audience. Luhrmann has a definite way of telling stories. In both Romeo and Juliet and The Great Gatsby he uses a prologue to narrate the story. Both are used to provide the audience with initial information they need to understand the rest of the story.