2014 In Books

In the first part of my 2014 in review series which may or may not continue after this post, I’m going to briefly analyse the books I’ve read this year.  Unfortunately I only managed to read 31 books, down from 41 in 2013 and failing to reach my target of 43 by quite a wide margin.  My main reason for this is that I more or less stopped reading outside of my university courses between January and May due to coursework and life related things going on, so hopefully this downward movement is only a blip!  Anyhow, here’s the list:

  1. The Book Thief (2005) – Markus Zusak
  2. Britain and Ireland: From Home Rule to Independence (1999) – Jeremy Smith
  3. Utopia (1516) – Thomas More
  4. Doctor Faustus (1604) – Christopher Marlowe
  5. Oroonoko (1688) – Aphra Behn
  6. Scotland’s Future (2013) – The Scottish Government
  7. Blair Unbound (2007) – Anthony Seldon
  8. The Fault in our Stars (2012) – John Green
  9. Long Walk to Freedom (1995) – Nelson Mandela
  10. The Trowie Mound Murders (2014) – Marsali Taylor
  11. Of Mice and Men (1937) – John Steinbeck
  12. Rachel in Love (1987) – Pat Murphy
  13. Ulysses (1922) – James Joyce
  14. Europe: In or Out? (2014) – David Charter
  15. The Cuckoo’s Calling (2013) – J.K. Rowling
  16. Nausea (1938) – Jean-Paul Sartre
  17. The Silkworm (2014) – J.K. Rowling
  18. The Great Gatsby [re-read] (1922)– F. Scott Fitzgerald
  19. A Game of Thrones (1996) – George R.R. Martin
  20. A Clash of Kings (1998) – George R. R. Martin
  21. A Storm of Swords (2000) – George R. R. Martin
  22. A Sentimental Journey (1768) – Laurence Sterne
  23. Gulliver’s Travels (1726) – Jonathan Swift
  24. Common Sense (1776) – Thomas Paine
  25. Salmond: Against the Odds (2010) – David Torrance
  26. The Constitution of the United States of America (1787) – James Madison
  27. Frankenstein [re-read] (1818) – Mary Shelley
  28. Northanger Abbey (1817) – Jane Austen
  29. Rip Van Winkle / The Legend of Sleepy Hollow (1820) – Washington Irving
  30. Hard Times (1854) – Charles Dickens
  31. A Feast for Crows (2005) – George R. R. Martin

And to put them in order of preference:

  1. A Storm of Swords (2000) – George R. R. Martin
  2. A Game of Thrones (1996) – George R.R. Martin
  3. A Clash of Kings (1998) – George R. R. Martin
  4. Long Walk to Freedom (1995) – Nelson Mandela
  5. The Silkworm (2014) – J.K. Rowling
  6. Frankenstein [re-read] (1818) – Mary Shelley
  7. Common Sense (1776) – Thomas Paine
  8. Doctor Faustus (1604) – Christopher Marlowe
  9. The Great Gatsby [re-read] (1922) – F. Scott Fitzgerald
  10. The Fault in our Stars (2012) – John Green
  11. The Book Thief (2005) – Markus Zusak
  12. A Feast for Crows (2005) – George R. R. Martin
  13. The Trowie Mound Murders (2014) – Marsali Taylor
  14. Northanger Abbey (1817) – Jane Austen
  15. Gulliver’s Travels (1726) – Jonathan Swift
  16. Of Mice and Men (1937) – John Steinbeck
  17. Rachel in Love (1987) – Pat Murphy
  18. Hard Times (1854) – Charles Dickens
  19. Rip Van Winkle / The Legend of Sleepy Hollow (1820) – Washington Irving
  20. Europe: In or Out? (2014) – David Charter
  21. Utopia (1516) – Thomas More
  22. Salmond: Against the Odds (2010) – David Torrance
  23. Nausea (1938) – Jean-Paul Sartre
  24. Britain and Ireland: From Home Rule to Independence (1999) – Jeremy Smith
  25. The Cuckoo’s Calling (2013) – J.K. Rowling
  26. Blair Unbound (2007) – Anthony Seldon
  27. Oroonoko (1688) – Aphra Behn
  28. A Sentimental Journey (1768) – Laurence Sterne
  29. Ulysses (1922) – James Joyce

Unrated:
Scotland’s Future (2013) – The Scottish Government
The Constitution of the United States of America (1787) – James Madison

—–

And here I’ve [broadly] charted on a map where each book is set or about.  Obviously fictions which aren’t set in our world, like A Song of Ice and Fire, aren’t included, and for non-fiction books I’ve had to take some liberties:

Settings 2014

Almost every book here written before 1900 is due to my English Literature course, hence why they’re so clustered together.  It’s a good mix, I think, although as the map shows there is a very strong northern European, British-American bias in the books I’ve read.  Every author, with the exception of Nelson Mandela, is either European or American – I’ll definitely try to widen the writers I read next year.  I think I’ve managed a healthy balance between fiction and non-fiction; I’ve neither lived wholly in bleak reality nor untempered fantasy.  In terms of preference, I’m not surprised to see George R. R. Martin consistently quite high given I tend to rate quality of storytelling in fiction above quality of prose (I imagine I’ll have a lot to say about that in a future post!).  Otherwise there’s no clear pattern.  I need to make a caveat for Ulysses however; while it was the most excruciatingly painful novel I’ve forced myself to read, while I considered the whole thing a project to ridicule critics, upon finishing I just couldn’t get it out of my head and having looked back at it I do find a lot of worth in there.  So this does betray one potential problem with my ratings, in that I rate purely in enjoyment while reading rather than any other means, which brings me back to the discussion of value best saved for another day.

Looking forward to the great reads 2015 brings!

UPDATE: I forgot to mention the books’ gender ratio.  Only 23% of the books I read were written by women, which is pretty shocking to consider.  Some of this might be down to the amount of ‘classics’ I’ve read this year, although considering these gave me Aphra Benn, Mary Shelley and Jane Austen, who I probably wouldn’t have read otherwise, it’s possibly this actually buffed the number up.  Unless I’ve subconsciously given greater preference to male authors (could be similar to this phenomenon) it’s clear women still face a harder task getting represented in the most high-profile and bestselling books.

Top 10 Closing Lines in English Literature

Contains spoilers.  Obviously.

The closing lines of a book can end up defining it.  They can bring a sense of closure to the story, complete plot threads and character arcs, or leave the reader wanting more with a cliffhanger.  They’re much more significant in literary terms (as opposed to marketing) than the opening lines, which can often be drab, unmemorable and difficult to absorb due to the author’s lack of familiarity with the story – unless you’re Jane Austen, anyway.  It’s a difficult/impossible task to compile a list of all my favourite endings to books, especially since I can’t claim to have read a significant portion of English literature – let alone the established canon – but I’m going to attempt it anyway.  So here’s my top 10 list:


10. Catching Fire by Suzanne Collins (2009)

“But Gale is not one to keep secrets from me.  ‘Katniss, there is no District Twelve.”

These words form the colossal cliffhanger of Catching Fire, the second book in The Hunger Games trilogy.  Suzanne Collins excels at bringing characters from despair to hope, and at bringing everything crashing down once again.  At this stage of the novel Katniss has just been rescued from the death-match arena, surviving her second Hunger Games which were supposed to be a death sentence.  Furthermore, her actions in the arena proved to be the final spark which blazed into life a rebellion against the Capitol and the brutal dictator, President Snow.  Yet after this we learned that Peeta had been captured by the Capitol forces in their escape and then, finally, we’re given this final line that states Katniss’ home district is gone.  We know that the government has firebombed the coal-covered District 12 and that her mother and sister are safe, but this shocking final message with its brutal lack of detail hammers it home as the reader runs out of words.  We don’t know how many people survived – if any, nor the wider context of this attack.  This cliffhanger is highly effective and is a taste of things to come in the third and final novel, Mockingjay.


9. The Amber Spyglass by Philip Pullman (2000)

” ‘And then what?’ said her dæmon sleepily.  “Build what?” ‘The Republic of Heaven,’ said Lyra.”

This final line to my all-time favourite book, though not a literary masterpiece in itself like other lines in this list, remains a highly fitting conclusion to the His Dark Materials trilogy.  The central theme to the books is that humanity should not look to a deity, real or otherwise, for meaning and purpose, but find and build it within themselves.  The Republic of Heaven begins as an attempt to build a real society in contrast to the Kingdom of Heaven which ends in war between the two, but it becomes clear that such a project is doomed to fail as people cannot inhabit other worlds than their own in the long-term.  Earlier in the book Lyra is told by a ghost, “We must build the Republic of Heaven where we are, because for us there is no elsewhere.”  At first she probably didn’t understand this, but her assertion at the end of the novel indicates she has embraced this philosophy. Knowing there is no conscious existence after death, nor hope of life in other worlds, Lyra has accepted after multiple sacrifices that she must live as fulfilling a life as possible in her own world during her own lifespan, bringing the thematic journey of the series to a satisfying conclusion.


8. Brave New World – Aldous Huxley (1931)

 “Slowly, very slowly, like two unhurried compass needles, the feet turned towards the right; north, north-east, east, south-east, south, south–south-west; then paused, and after a few seconds, turned as unhurriedly back towards the left.  South-south west, south-south east, east…”

This somewhat graphic description of John the Savage’s suicide brings Brave New World to a close.  These final lines are powerful because of the sheer brutality of their imagery, using the comparison of compass needles and an agonisingly long, drawn out list of directions to create a vivid image of his feet dangling from above.  This makes the ending far more effective, as his suicide had been built up to throughout the book as he struggled to adapt to this horrific new world he found himself in, and particularly after the confused and drug-induced events in the previous scene where he let down all his moral barriers, which could have made the ending seem predictable otherwise.


7. The Casual Vacancy by J. K. Rowling (2012)

“Her family half carried Terri Weedon back down the royal-blue carpet, and the congregation averted its eyes.”

This closing line is important for several reasons.  Pagford’s divisions are laid bare between its wealthy residents and deprived families by the former’s collective act of looking away from the coffin of the woman who epitomised the latter, Terri Weedon.  The people of Pagford have made no success throughout the novel in understanding people in situations different from their own.  Their averted gaze symbolises the ignorance they held the family’s condition in, continuing to view their faults as self-imposed rather than the result of institutional, generational poverty.  For a novel which explores all aspects of human society, the good and the bad, this may seem surprisingly hopeless, though it’s important to remember the individual characters who have been redeemed throughout the novel.  This final line, then, confirms the novel’s message that although humans may see positive changes on an individual level over the course of the novel’s timespan, societal change is a much slower, messier process.


6. The Great Gatsby – F. Scott Fitzgerald (1926)

   “Gatsby believed in the green light, the orgastic future that year by year recedes before us.  It eluded us then, but that’s no matter – tomorrow we will run faster, stretch out our arms further… And one fine morning- So we beat on, boats against the current, born back ceaselessly into the past.”

Fitzgerald’s lyrical writing flows from the page to summarise the novel’s themes, told by the narrator Nick Carraway.  These final paragraphs offer us two contrasting visions: the first of a temporary setback in reaching their dreams – the American Dream – and the second revelation that obsessively seeking your dreams, as was the case with Gatsby, merely drags you further into the past as you seek to recreate former glory.  Which is doomed to fail because, as Nick enlightened us earlier, “you can’t repeat the past.”  Furthermore, this is confirmation that the entire concept of the American Dream is a lie, or obsolete in this postwar world.  These final lines show us why The Great Gatsby remains hugely relevant for American society today.


5. The Yellow Wallpaper – Charlotte Perkins Gilman (1892)

“Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time!”

The closing line of this wonderful short story completes the narrator’s mental breakdown  having been confined to a bedroom in solitary confinement so she can ‘rest’, a barbaric but oh-so Victorian way of treating depression.  We watch the narrator’s mental state unravel as she becomes obsessed by the patterned wallpaper in her room, fixating all her world’s meaning upon it, and begins ritually walking round the room stripping the paper off.  Her husband, upon viewing her, faints, but this does not deter her and she continues walking her path over him.  These closing lines show just how removed from reality she has become that she is unable to even contextualise her husband’s identity and wellbeing, so severe has her mistreatment been.


4. Cloud Atlas – David Mitchell (2004)

“Yet what is any ocean, but a multitude of drops?”

This last line of Adam Ewing’s diary brings this epic of a novel to a close.  By this point we’ve witnessed six different time periods, movements to abolishing slavery, multiple personal adventures, revolutions and even the end of civilisation itself.  In each of the six stories it is heavily implied that a major character is the reincarnation of another from a previous story.  Whether Mitchell means this literally or as a metaphor for the consistent nature of the human soul, be it habit of the strong to exploit the weak or the enduring power of love, this final line must summarise not just the entire book but also humanity in its entirety.


3. Animal Farm – George Orwell (1945)

“Twelve voices were shouting in anger, and they were all alike.  No question, now, what had happened to the faces of the pigs.  The creatures outside looked from pig to man, and from man to pig, and from pig to man again: but already it was impossible to say which was which.”

This classic ending to Animal Farm completes the story’s circular plot of the farm being ruled by oppressive humans, the animals themselves in a brief period of freedom before being oppressed once again by the pigs.  Orwell masterfully shows the pigs gradually adopting more manlike manners by reneging on their laws outlawing alcohol and murder, among others, and then by the pigs entering the farmhouse and sleeping in human beds.  These closing lines bring this process to its natural conclusion where the pigs, to all intents and purposes, have become men.  As this is Orwell there is inevitably a political purpose, and here it is to show how the Communist leaders of the Soviet Union have become indistinguishable from the former Tsarist regime.  Never has there been a more successful allegory.


2. Ulysses – James Joyce (1922)

“and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.”

Without a doubt the most unorthodox quote you’ll find on this list, the final lines of Ulysses (as opposed to the final sentence, which is over three thousand words long) brings some perhaps surprising order to this novel that so many people find unfathomable.  Throughout the day of Leopold Bloom, described in eye-watering levels of detail, he has been portrayed as a gentle and kind person, a protective father figure for Stephen, possessing moderate political views in opposition to xenophobic Irish nationalism and remarkable understanding towards his wife Molly, who has just begun an affair.  As a result of this he is frequently emasculated by characters throughout the book, particularly during chapter 15’s nightmare sequence in which he is literally turned into a woman.  His inadequacy as a hero is reinforced with the constant allusions to Homer’s Odysseus, proving himself to be the stark opposite of this bold, heroic figure.  And yet, in Molly’s final soliloquy, her lasts thoughts before falling asleep are of Bloom as she remembers the day he asked her to marry him.  We can finally recognise Bloom as the undoubted hero of the novel as he wins this ultimate victory against his rival for Molly – a victory not just for himself but for his values of tolerance.  It becomes clear that Bloom is indeed a hero, and perhaps precisely the one that Ireland needs.


1. Nineteen Eighty-Four – George Orwell (1949)

“But it was all right, everything was all right, the struggle was finished.  He had won the victory over himself.  He loved Big Brother.”

Yes, Orwell again!  These famous lines represent The Party’s ultimate victory over Winston, providing one of the bleakest yet most powerful endings in English literature.  Throughout the novel Winston has opposed The Party and Big Brother, expressing his hatred of them both multiple times throughout.  And yet Orwell shows that even the deepest convictions can be uprooted by force, in Winston’s case through systematic torture and the horrors of Room 101.  The final sentence, deliberately basic in its construction, is an affirmation of Winston’s conversion, while the shift to a relaxed, reassuring tone expresses clearly how he has changed from the anguish-ridden man from the rest of the novel.  Completely at odds to the rest of the book, these final lines serve as the ultimate warning to the power of totalitarian regimes to bend and breaks their citizens upon their own whims.  It’s a message just as important today as it was in 1949.


Do you have any thoughts on this selection?  Have I made any notable omissions you think I should reconsider (or read!)? Let me know in the comments!

2013: My Books

Unless I do some pretty quick reading over the next two days, I think I’m able to compile a complete list of the books I’ve read over the last year!  I’ve managed to extend my record of 38 books last year to 41!  I’ve also increasingly branched into reading non-fiction, largely around historical or political topics though also some science as well, but I’m making sure to keep up the fiction as well.  Like last year, I’ve compiled the books into two lists: in order by date read and my enjoyment of them.  I’m beginning to wonder whether it might be better to have two separate lists for the fiction and non-fiction, as it’s so difficult to compare the two forms.  I’ll bear that in mind for 2014.  For now, here they are:

Order Read

  1. Twilight (2005) – Stephenie Meyer
  2. New Moon (2006) – Stephenie Meyer
  3. Eclipse (2007) – Stephenie Meyer
  4. The Battle for the Arab Spring: Revolution, Counter-Revolution and the Making of a New Era (2012) – Liu Noueihed and Alex Warren
  5. Breaking Dawn (2008) – Stephenie Meyer
  6. American Gods (2001) – Neil Gaiman
  7. Brave New World [re-read] (1932) – Aldous Huxley
  8. Chavs: The Demonization of the Working Class (2011) – Owen Jones
  9. Cloud Atlas (2004) – David Mitchell
  10. The Bridge (1986) – Iain Banks
  11. Teach Yourself Islam (2003) – Ruqaiyyah Waris Maqsood
  12. Heart of Darkness (1902) – Joseph Conrad
  13. Death on a Longship – Marsali Taylor (2012)
  14. The Great Powers 1814 – 1914 (1992) – Eric Wilmot
  15. Romeo and Juliet (1597) – William Shakespeare
  16. Doctor Who: The Witch Hunters (1998) – Steve Lyons
  17. The Thief of Time (2000) – John Boyne
  18. Gaia: A New Look At Life on Earth (1979) – James Lovelock
  19. Fight Club (1996) – Chuck Palahniuk
  20. Battle Royale (2000-2005) – Koushun Takami
  21. Hamlet (1603) – William Shakespeare
  22. Keep the Aspidistra Flying (1936) – George Orwell
  23. The Curious Incident of the Dog in the Night-Time (2003) – Mark Haddon
  24. Consider Phlebas (1987) – Iain Banks
  25. Stalin’s Nemesis: The Exile and Murder of Leon Trotsky (2009) – Bertrand M. Patenaude
  26. Paradise Lost (1667) – John Milton
  27. The Great Gatsby (1925) – F. Scott Fitzgerald
  28. The Turn of the Screw (1898) – Henry James
  29. The Prime of Miss Jean Brodie (1961) – Muriel Spark
  30. Oliver Cromwell (1991) – Barry Coward
  31. The Decline of the English Murder and other Essays (1965) – George Orwell
  32. The Private Memoirs and Confessions of a Justified Sinner (1824) – James Hogg
  33. Waiting For Godot (1953) – Samuel Beckett
  34. Cloud 9 (1979) – Caryl Churchill
  35. The Importance of Being Earnest (1895) – Oscar Wilde
  36. Richard III (1592) – William Shakespeare
  37. Ishi’s Brain: In Search of the Last “Wild” Indian (2004) – Orin Starn
  38. Pride and Prejudice (1813) – Jane Austen
  39. The Wasp Factory (1984) – Iain Banks
  40. The Casual Vacancy (2012) [re-read] – J. K. Rowling
  41. Road to Referendum (2013) – Iain Macwhirter

Order of Enjoyment

  1. Cloud Atlas (2004) – David Mitchell
  2. Brave New World [re-read] (1932) – Aldous Huxley
  3. The Bridge (1986) – Iain Banks
  4. The Casual Vacancy (2012) [re-read] – J. K. Rowling
  5. Road to Referendum (2013) – Iain Macwhirter
  6. The Great Powers 1814 – 1914 (1992) – Eric Wilmot
  7. The Great Gatsby (1925) – F. Scott Fitzgerald
  8. Consider Phlebas (1987) – Iain Banks
  9. The Private Memoirs and Confessions of a Justified Sinner (1824) – James Hogg
  10. The Curious Incident of the Dog in the Night-Time (2003) – Mark Haddon
  11. Pride and Prejudice (1813) – Jane Austen
  12. Keep the Aspidistra Flying (1936) – George Orwell
  13. Death on a Longship – Marsali Taylor (2012)
  14. Doctor Who: The Witch Hunters (1998) – Steve Lyons
  15. The Prime of Miss Jean Brodie (1961) – Muriel Spark
  16. The Battle for the Arab Spring: Revolution, Counter-Revolution and the Making of a New Era (2012) – Liu Noueihed and Alex Warren
  17. Chavs: The Demonization of the Working Class (2011) – Owen Jones
  18. Waiting For Godot (1953) – Samuel Beckett
  19. Gaia: A New Look At Life on Earth (1979) – James Lovelock
  20. The Importance of Being Earnest (1895) – Oscar Wilde
  21. The Wasp Factory (1984) – Iain Banks
  22. Ishi’s Brain: In Search of the Last “Wild” Indian (2004) – Orin Starn
  23. The Decline of the English Murder and other Essays (1965) – George Orwell
  24. Battle Royale (2000-2005) – Koushun Takami
  25. Cloud 9 (1979) – Caryl Churchill
  26. Oliver Cromwell (1991) – Barry Coward
  27. Hamlet (1603) – William Shakespeare
  28. Richard III (1592) – William Shakespeare
  29. Teach Yourself Islam (2003) – Ruqaiyyah Waris Maqsood
  30. Stalin’s Nemesis: The Exile and Murder of Leon Trotsky (2009) – Bertrand M. Patenaude
  31. American Gods (2001) – Neil Gaiman
  32. Paradise Lost (1667) – John Milton
  33. Heart of Darkness (1902) – Joseph Conrad
  34. The Turn of the Screw (1898) – Henry James
  35. Romeo and Juliet (1597) – William Shakespeare
  36. Twilight (2005) – Stephenie Meyer
  37. The Thief of Time (2000) – John Boyne
  38. Breaking Dawn (2008) – Stephenie Meyer
  39. New Moon (2006) – Stephenie Meyer
  40. Eclipse (2007) – Stephenie Meyer
  41. Fight Club (1996) – Chuck Palahniuk

Thoughts on The Great Gatsby (2013 Film)

Contains spoilers.

 

This won’t be a full review, due to my lack of concentration at some parts as a result of it being my first 3D film and also the fact that I haven’t read the original 1925 novel by F. Scott Fitzgerald, nor seen any of the other film versions, which I feel I’d need to experience before making a full assessment of the film.  I walked in blind, as it were.  It’s directed by Baz Luhrmann, who I’m told is a skilled director, and has previously directed Romeo + Juliet and Australia, neither of which I’d seen but had heard a lot about.

To me, the most thought-provoking aspects of the film is its themes within the historical setting.  Set during the Roaring Twenties, a period of unparalleled economic growth within the USA following the First World War (and preceding the inevitable collapse of the system in the 1929 Wall Street Crash), this was the period of jazz, of unenforceable prohibition and of corruption.  The film certainly glorifies the nightlife scene of New York in 1922, showing a seemingly endless sequence of parties, pleasure, alcohol and chaos.  It’s certainly atmospheric, but my main reaction was thankfulness that I never lived during this period!  The film encapsulates the changing moral landscape of the time, which is also expressed through the romantic relationships characters form.  Gatsby, Daisy and Thomas all participate in extramarital affairs, while Nick and Jordan’s fling begins in an alcohol-fueled party.  The film is no advocate of the sanctity of marriage, and it’s fascinating to see society’s change portrayed so successfully.  The importance of money within the film also stood out to me – scenes are littered with references to the gap between the wealthy and the poor.  Indeed, the crux of the film lies around the idea that Gatsby did not feel worthy of Daisy’s love until he had made something of his life.  It’s difficult to say whether the book’s message was for or against this individualist, ‘dog-eat-dog’ culture; the novel would really need to be read  to say for sure.

A result of many of these themes is that I personally found it difficult to relate to many of the characters.  I struggle to understand the forces which drive the characters in their greed and their lusts.  Why does Gatsby see such an importance in money?  The parties, the affairs… I had the same problem with Othello, leaving me wondering whether it’s flaws in the writing or flaws in me.

There are many comparisons to be made between the period the film is set and the society of today.  Economically, the excesses of the 20s bear a lot in common with the economic book experienced in the early 2000s, only to be shattered by a financial meltdown in a similar way.  The same values of individual profit, private enterprise and the ‘American dream’ still dominate today, despite having been proven fundamentally flawed again and again when unregulated.  Ultimately, it’s Gatsby’s need to attain individual economic success – which he achieves through the illegal distribution of alcohol – that proves to be his downfall and prevents him from experiencing a happy ending.

Despite my feelings towards the characters, I can’t deny they are well written and acted.  Hearing the lyrical lines many were given made me want to read the novel, even if the eventual plot and themes had the opposite effect.  I was surprised by how likeable a character Gatsby proved to be; I imagined he would be a flawed, irredeemable character, but I was mistaken.  The character is possibly even portrayed as too virtuous.  He’s brilliantly acted by Leonardo DiCaprio, who always impresses me with his diversity.  I also enjoyed Tobey Maguire as Nick Carraway, the story’s narrator – the only character I personally believed to be realistic.   Daisy is well acted by Carey Mulligan, although her role in the story rather annoyed me.  She is viewed as an object, as a prize, by the men who compete over her.  Never is this clearer than in the confrontational scene, where they both cry variations of: “She is mine!” “she loves me!”  That wouldn’t necessarily be a problem, except she is there with them and says nothing.  She cries a bit, then wanders off, then is all, “oh, don’t make me choose.”  But essentially, it’s a confrontation between Gatsby and Tom over Daisy, in which she has no input.  I appreciate these were the values of the society at the time, but it still irritates me.

It was an interesting decision, in setting up the period, to use modern music.  In the soundtrack can be found names including Beyoncé, Florence + The Machine, Lana Del Rey and André 3000 (presumably a rapping robot – or sounds like one at any rate), all of whom are generally in the charts right now.  The obvious decision would have been to go for 20s jazz music to set the period but, oddly, modern pop music kind of works.  It establishes that this is a period of partying and excess, ideas that most pop music today push forward.  I don’t like the music, but it works.

Finally, I was quite impressed by the levels of detail and symbolism present in the film.  Little touches, like that optician billboard symbolosing the ‘Eyes of God’, judging characters and disapproving of their lifestyles, or the green light across the bay acting as a source of hope for Gatsby, make me realise how The Great Gatsby became a literary classic.

Overall, I have conflicting feelings over The Great Gatsby.  I kind of liked it and disliked it at the same time.  Visually, it’s beautifully directed by Luhrmann, but I’m unsure of how I feel about the central concepts of the story.

Final rating (if forced): 7/10

3D Films

Yesterday I went to see my first 3D film at the cinema! (The Great Gatsby, which I may post my thoughts on depending on whether I have time and can think of enough points).  Until then I had always resisted what I considered – and still do – to be a temporary fad.  I was worried it would be a dizzying, uncomfortable experience, one I couldn’t escape from for 2 hours.  But The Great Gatsby seemed like a fairly safe first experience.  Okay, alcohol and wild parties are horrific enough in 2D, but other than that…

In the end, my experiences were mixed.  I think at first I was underwhelmed.  Rather than really projecting a three-dimensional image, the screen was just a series of two-dimensional layers played in front of one another – a bit like overlapping shadow puppets but with more details.  Some shots were impressive – snow and splashing water did appear to come out of the screen, but it was in a very crude way.  I almost felt I could see a kind of haze around the different layers.

What’s more, I found myself developing a migraine as the film progressed, due to constantly shifting my perspective in an attempt to keep up with the varying focuses.  Very often the foreground layer would be out of focus to emphasise an element of the background – a technique which works fine in 2D – that became incredibly dizzying.  I spent about half an hour shifting the glasses on and off, trying to figure out whether it was more watchable without them.

For the second half my eyes did adapt and I mostly stopped noticing the fact the film was in 3D, but that’s possibly down to the film not ever truly utilising it.  If a film doesn’t make much use of the 3D features, what’s the point in screening it as so?  That said, I’m not complaining.

To summarise, having experienced 3D films, my opinion hasn’t improved much.  I find them to be just about watchable if 2D isn’t an option – and very often it isn’t.  For some reason, our local cinema seems to show films in 3D as default, then add a few token 2D showings just for weird people like me who don’t like 3D.  I hope this isn’t endemic to all cinemas.  Hopefully this fad will end soon.