However, the film is not perfect. Tobey Maguire’s Nick Carraway feels oddly wooden, acting more as a tourist than a participant. Furthermore, the decision to frame the entire story as a flashback from a sanitarium (where Nick is writing a memoir to cure his alcoholism) adds a layer of framing that feels unnecessary.
But the film’s greatest triumph is its final five minutes. As DiCaprio watches the green light fade, Luhrmann finally quiets the chaos. The music stops. The camera slows down. We are left with the words of Fitzgerald, spoken verbatim over a snowy dock:
"Gatsby believed in the green light, the orgastic future that year by year recedes before us." The Great Gatsby -2013-
In that moment, Luhrmann stops trying to reinvent Fitzgerald and simply serves him. It is a devastatingly quiet ending to a deafeningly loud movie.
In 2013, critical response was mixed. The New Yorker called it “an over-stuffed, empty spectacle.” The Guardian praised it as “a party that reveals its own decay.” On Rotten Tomatoes, it holds a middling 48% critic score but an 85% audience approval. Audiences understood what critics missed: Gatsby is a story about a performance. Luhrmann’s style—the quick cuts, the CGI parties, the anachronistic music—is the cinematic equivalent of Gatsby’s manufactured persona. However, the film is not perfect
Over time, The Great Gatsby -2013- has undergone a significant reevaluation. On TikTok and Instagram, zoomers have rediscovered the film’s aesthetic, creating “Gatsby-core” trends. The film’s themes of economic inequality, performative luxury, and the impossible dream of love resonate deeply in a post-2010s world. It is no longer seen as a failure; it is seen as a prophecy.
Controversial at the time, the soundtrack—executive produced by Jay-Z—blends hip-hop with 1920s jazz. While purists scoffed, this is actually one of the film’s smartest decisions. Just as jazz was the subversive, high-energy pop music of the 1920s, hip-hop serves that role today. It makes the debauchery feel modern and relevant, bridging the gap between the "Roaring Twenties" and the modern era. But the film’s greatest triumph is its final five minutes
If nothing else, The Great Gatsby is a visual feast. Luhrmann does not just direct a scene; he curates it. The parties at the Gatsby mansion are explosions of confetti, pyrotechnics, and color—a chaotic spectacle that perfectly mirrors the dizzying, hedonistic excess described in the novel. The use of 3D is surprisingly effective, adding depth to the sweeping shots of the Long Island Sound and making the "Valley of Ashes" feel truly oppressive.
However, the visual flair can be overwhelming. The first hour is cut at a frantic, music-video pace, which serves to disorient the audience just as Nick is disoriented, but it risks exhausting the viewer before the emotional core of the story takes hold.