THINKING ACTIVITY - THE GREAT GATSBY

                  THE GREAT GATSBY

1) HOW DID THE FILM CAPTURE THE JAZZ  AGE THE ROARING TWENTIES OF THE AMERICA IN 1920S.

• The Lost Generation refers to the generation of artists, writers, and intellectuals that came of age during the First World War (1914-1918) and the “Roaring Twenties.”
  
• The utter carnage and uncertain outcome of the war was disillusioning, and many began to question the values and assumptions of Western civilization.
• Economic, political, and technological developments heightened the popularity of jazz music in the 1920s, a decade of unprecedented economic growth and prosperity in the United States.
• African Americans were highly influential in the music and literature of the 1920s.

      The First World War

                                  The experience of the Western democracies in the First World War was disheartening and disillusioning. So-called “civilized” countries had declared war on each other for uncertain reasons, had fought to a stalemate in brutal trench warfare conditions, and had then negotiated a peace settlement that neither settled the underlying causes of tension nor truly brought peace.

The nationalistic fervor that had motivated many Americans and Europeans to enlist in the war effort dissipated in the muddy trenches of battle, where the purpose and aims of the war seemed distant and unclear. Technological advances in armaments made World War I the deadliest conflict in human history, claiming millions of casualties on all sides. The very nature of the war called into question the West’s perception of itself as “civilized.” Small wonder, then, that many in the United States and Europe began to question the values and assumptions of Western civilization.

                            Some of the most famous Lost Generation writers were F. Scott Fitzgerald, Gertrude Stein, T.S. Eliot, Ernest Hemingway, John Dos Passos, and John Steinbeck. Many of these writers lived as expatriates in Paris, which played host to a flourishing artistic and cultural scene.$^2$squared The themes of moral degeneracy, corruption, and decadence were prominent in many of their works. F. Scott Fitzgerald’s novel The Great Gatsby is a classic of the genre.

                             

Jazz and the “Roaring Twenties”

Jazz music became wildly popular in the “Roaring Twenties,” a decade that witnessed unprecedented economic growth and prosperity in the United States. Consumer culture flourished, with ever greater numbers of Americans purchasing automobiles, electrical appliances, and other widely available consumer products.$^3$cubed The achievement of material affluence became a goal for many US citizens as well as an object of satire and ridicule for the writers and intellectuals of the Lost Generation.

Technological innovations like the telephone and radio irrevocably altered the social lives of Americans while transforming the entertainment industry. Suddenly, musicians could create phonograph recordings of their compositions. For jazz music, which was improvisational, the development of phonograph technology was transformative. Whereas previously, music-lovers would actually have to attend a nightclub or concert venue to hear jazz, now they could listen on the radio or even purchase their favorite recordings for at-home listening.

2) 3)HOW DID THE FILM HELP IN UNDERSTANDING THE CHARACTERS OF THE NOVEL.

Ever since Baz Luhrmann announced that he was adapting F. Scott Fitzgerald’s The Great Gatsby­—and especially after he revealed that he’d be doing it in 3-D—much digital ink has been spilled about the hideous sacrilege that was sure to follow. Nevermind that Luhrmann’s previous adaptation, William Shakespeare’s Romeo + Juliet, was quite true to both the language and the spirit of that legendary play; Gatsby, as David Denby puts it in The New Yorker this week, is “too intricate, too subtle, too tender for the movies,” and especially for such an unsubtle filmmaker as Luhrmann.

                            So the argument goes, anyway. In fact, Fitzgerald’s novel, while great, is not, for the most part, terribly subtle. And though it has moments of real tenderness, it also has melodrama, murder, adultery, and, of course, wild parties. In any case, we can put aside, for the moment, the larger question of whether Luhrmann captured the spirit of Gatsby, which is very much open for debate. There’s a simpler question to address first: How faithful was the filmmaker to the letter of Fitzgerald’s book?

                                 The Frame Story

Luhrmann’s chief departure from the novel arrives right at the beginning, with a frame story in which the narrator Nick Carraway (Tobey Maguire), some time after that summer spent with Gatsby & co., has checked into a sanitarium, diagnosed by a doctor of some sort as “morbidly alcoholic.” Fitzgerald’s Nick does refer to Gatsby as “the man who gives his name to this book” (emphasis mine), so the idea that The Great Gatsby is a text written by Nick is not entirely original with Luhrmann—though the filmmaker takes this much further than Fitzgerald, showing Nick writing by hand, then typing, and finally compiling his finished manuscript. He even titles it, first just Gatsby, then adding, by hand, “The Great,” in a concluding flourish.

                             As for that morbid alcoholism, Nick claims in the novel that he’s “been drunk just twice in my life,” but the movie slyly implies that he’s in denial, by showing him cross out “once” for “twice,” and then, in the frame story, suggesting that it was far more than that, really.

Jordan and Nick
The plot of the film is pretty much entirely faithful to the novel, but Luhrmann and his co-screenwriter Craig Pearce do cut out one of the side stories: the affair between Nick and Jordan Baker, the friend of Daisy’s from Louisville who is a well-known golfer. Daisy promises to set them up, to push them “accidentally in linen closets and … out to sea in a boat,” a line the screenplay keeps—but then, in the film, the matter is dropped. Luhrmann’s Nick says he found Jordan “frightening” at first, a word Carraway doesn’t apply to her in the novel—and later at Gatsby’s we see Jordan whisked away from Nick by a male companion, which doesn’t happen in the book. In the novel, they become a couple and break up near the end of the summer.

The Finnish Woman and Ella Kaye
Did you know that Nick Carraway had a maid? This is easy to forget, since Nick seems generally financially a bit strapped, certainly in comparison to his rich neighbors. But in the novel he employs “a Finnish woman who made my bed and cooked breakfast and muttered Finnish wisdom to herself over the electric stove.” She makes a few appearances in the book but is understandably cut from the movie. So is Ella Kaye, the seemingly conniving woman who manages to snag the inheritance of Dan Cody, the rich, drunken yachtsman who first prompts Gatsby on his road to wealth and artifice. In the movie, Cody’s wealth goes to his family.

3)HOW DID THE FILM HELP IN UNDERSTANDING THE SYMBOLIC SIGNIFICANCE OF 'THE VALLEY OF ASHES', 'THE EYES OF DR. T.J. ECKLEBERG' AND THE ' GREEN LIGHT '.

                             In The Great Gatsby, between the glittering excitement of Manhattan and the stately mansions of East and West Egg, there is a horrible stretch of road that goes through an area covered in dust and ash from the nearby factories.

Why does the novel insist on spending time in this depressing place? Why, instead of simply calling it Queens, or giving it a fictional name, does Nick refer to it by the vaguely Biblical-sounding "valley of ashes"?

                             The valley of ashes is the depressing industrial area of Queens that is in between West Egg and Manhattan. It isn't actually made out of ashes, but seems that way because of how gray and smoke-choked it is.

This grayness and dust are directly related to the factories that are nearby—their smokestacks deposit a layer of soot and ash over everything.

The valley is next to both the train tracks and the road that runs from West Egg to Manhattan—Nick and other characters travel through it via both modes of transportation.

The area is also next to a small river and its drawbridge, where the products of the factories are shipped to their destinations.

                                About half way between West Egg and New York the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. This is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operations from your sight…

The valley of ashes is bounded on one side by a small foul river, and when the drawbridge is up to let barges through, the passengers on waiting trains can stare at the dismal scene for as long as half an hour. There is always a halt there of at least a minute and it was because of this that I first met Tom Buchanan's mistress. (2.1-3)

                                After telling us about the "fine health to be pulled down out of the young breath-giving air" (1.12) of West Egg in Chapter 1, Nick shows us just how the glittering wealth of the nouveau riche who live there is accumulated. Much of it comes from industry: factories that pollute the area around them into a "grotesque" and "ghastly" version of a beautiful countryside.

Instead of the bucolic, green image of a regular farm, here we have a "fantastic farm" (fantastic here means "something out of the realm of fantasy") that grows ash instead of wheat and where pollution makes the water "foul" and the air "powdery."

This imagery of growth serves two purposes.

• First, it's disturbing, as it's clearly meant to be. The beauty of the natural world has been transformed into a horrible hellscape of gray ashes. Not only that, but it is turning regular humans into "ash-grey men" who "swarm" like insects around the factories and cargo trains (that's the "line of grey cars"). These are the people who do not get to enjoy either the luxury of life out on Long Island, or the faster-paced anonymous fun that Nick finds himself enjoying in Manhattan. In the novel's world of haves and have-nots, these are the have-nots.

• Second, the passage shows how disconnected the rich are from the source of their wealth. Nick is annoyed when he is a train passenger who has to wait for the drawbridge to lead barges through. But the barges are carrying the building products of the factories. Nick is a bond trader, and bonds are basically loans people give to companies (companies sell bond shares, use that money to grow, and then have to pay back that money to the people who bought the bonds). In the 1920s, the bond market was fueling the construction of skyscrapers, particularly in New York. In other words, the same construction boom that is making Queens into a valley of ashes is also buoying up the new moneyed class that populates West Egg.

The Eyes of Doctor T. J. Eckleburg

The eyes of Doctor T. J. Eckleburg are a pair of fading, bespectacled eyes painted on an old advertising billboard over the valley of ashes. They may represent God staring down upon and judging American society as a moral wasteland, though the novel never makes this point explicitly. Instead, throughout the novel, Fitzgerald suggests that symbols only have meaning because characters instill them with meaning. The connection between the eyes of Doctor T. J. Eckleburg and God exists only in George Wilson’s grief-stricken mind. This lack of concrete significance contributes to the unsettling nature of the image. Thus, the eyes also come to represent the essential meaninglessness of the world and the arbitrariness of the mental process by which people invest objects with meaning. Nick explores these ideas in Chapter 8, when he imagines Gatsby’s final thoughts as a depressed consideration of the emptiness of symbols and dreams.

The Green Light

Situated at the end of Daisy’s East Egg dock and barely visible from Gatsby’s West Egg lawn, the green light represents Gatsby’s hopes and dreams for the future. Gatsby associates it with Daisy, and in Chapter 1 he reaches toward it in the darkness as a guiding light to lead him to his goal. Because Gatsby’s quest for Daisy is broadly associated with the American dream, the green light also symbolizes that more generalized ideal. In Chapter 9, Nick compares the green light to how America, rising out of the ocean, must have looked to early settlers of the new nation.

4) HOW DID THE FILM CAPTURE THE THEME OF RACISM AND SEXISM? 

                              The roaring twenties, an American era of urban excellence, the rich became richer, the alcoholics became drunker, the war was over and men and women alike were thriving! In the novel The Great Gatsby, Nick Carraway is writing about his experiences falling into the hands of filthy wealth, a colorful, dazzlingly loud lifestyle of his neighbor Jay Gatsby and his incredible parties. He soon finds himself caught up in a love story from the past of his cousin Daisy Buchanans and his new neighbor’s affairs, even more so, becomes attached to the hip with Gatsby, devoted to him. ‘You’re worth the whole damn bunch put together, (154)’ Nick Carraway shouts some of the last words Gatsby would hear. As times were still racist, sexist, and non-accepting of certain identities, F. Scott Fitzgerald possibly added homosexual tendencies within his novel, with a small book with less than two-hundred pages wrote from the perspective of a character’s past there was no room for random coincidences. With metaphors and thrown in ellipses, it was no mistake what the author intended, with the extra mile that Nick was a respectably honest narrator who put details into some interesting places or added in some events with no other information, as if he didn’t intend to speak of it in the first place. As the narrator, Nick Carraway has an amusing way of describing each character he meets.

 5)WATCH THE VIDEO ON NICK CARRAWAY AND DISCUSS HIM AS A CHARACTER. 

                             Nick Carraway, the story's narrator, has a singular place within The Great Gatsby. First, he is both narrator and participant. Part of Fitzgerald's skill in The Great Gatsby shines through the way he cleverly makes Nick a focal point of the action, while simultaneously allowing him to remain sufficiently in the background. In addition, Nick has the distinct honor of being the only character who changes substantially from the story's beginning to its end. Nick, although he initially seems outside the action, slowly moves to the forefront, becoming an important vehicle for the novel's messages.

                           On one level, Nick is Fitzgerald's Everyman, yet in many ways he is much more. He comes from a fairly nondescript background. He hails from the upper Midwest (Minnesota or Wisconsin) and has supposedly been raised on stereotypical Midwestern values (hard work, perseverance, justice, and so on). He is a little more complex than that, however. His family, although descended from the "Dukes of Buccleuch," really started when Nick's grandfather's brother came to the U.S. in 1851. By the time the story takes place, the Carraways have only been in this country for a little over seventy years — not long, in the great scope of things. In addition, the family patriarch didn't exhibit the good Midwestern values Nick sees in himself. When the civil war began, Nick's relative "sent a substitute" to fight for him, while he started the family business. This little detail divulges a few things: It places the Carraways in a particular class (because only the wealthy could afford to send a substitute to fight) and suggests that the early Carraways were more tied to commerce than justice. Nick's relative apparently doesn't have any qualms about sending a poorer man off to be killed in his stead. Given this background, it is interesting that Nick would come to be regarded as a level-headed and caring man, enough of a dreamer to set goals, but practical enough to know when to abandon his dreams.

                             Also contributing to Nick's characterization as an Everyman are his goals in life. He heads East after World War I, seeking largely to escape the monotony he perceives to permeate the Midwest and to make his fortune. He is an educated man who desires more out of life than the quiet Midwest can deliver (although it is interesting that before living in the city any length of time he retreats to the country). What helps make Nick so remarkable, however, is the way that he has aspirations without being taken in — to move with the socialites, for example, but not allowing himself to become blinded by the glitz that characterizes their lifestyle. When he realizes what his social superiors are really like (shallow, hollow, uncaring, and self-serving), he is disgusted and, rather than continuing to cater to them, he distances himself. In effect, motivated by his conscience, Nick commits social suicide by forcefully pulling away from people like the Buchanans and Jordan Baker.

                         In addition to his Everyman quality, Nick's moral sense helps to set him apart from all the other characters. From the first time he interacts with others (Daisy, Tom, and Jordan in Chapter 1), he clearly isn't like them. He is set off as being more practical and down-to-earth than other characters. This essence is again brought to life in Chapter 2 when he doesn't quite know how to respond to being introduced into Tom and Myrtle's secret world (notice, however, that he doesn't feel the need to tell anyone about his adventures).

In Chapter 3, again Nick comes off as less mercenary than everyone else in the book as he waits for an invitation to attend one of Gatsby's parties, and then when he does, he takes the time to seek out his host. From these instances (and others like them spread throughout the book) it becomes clear that Nick, in many ways, is an outsider.

                              Nick has what many of the other characters lack — personal integrity — and his sense of right and wrong helps to elevate him above the others. He alone is repulsed by the phony nature of the socialites. He alone is moved by Gatsby's death. When the other characters scatter to the wind after Gatsby's death, Nick, unable to believe that none of Gatsby's associates will even pay their last respects, picks up the pieces and ensures Gatsby isn't alone in his death. Through the course of The Great Gatsby Nick grows, from a man dreaming of a fortune, to a man who knows only too well what misery a fortune can bring.