In the Great Gatsby Why Did the Arts and Create the Source
Another keen set decoration choice Martin made for the political party scenes (run into Figure two) were the inflatable zebras in the pool. While inflatable zebras may seem out of identify at a party, she did this in order to add "eye-popping stripes" and more "verve" to the scene (Bricklayer, 2013). While fifty-fifty Leonardo Di Caprio questioned the zebra's historical accuracy, Martin had research to evidence they did in fact exist at the fourth dimension. Similarly, the translucent balloons helped describe the "carnival kaleidoscope" atmosphere of Gatsby'due south lavish and extravagant parties. Though these elements may not stand out to the average viewer, the political party would exist incredibly less exciting without them. Martin's attending to detail and ability to exaggerate while staying true to the time is quite impressive.
Effigy ii. Gatsby'due south lavish parties
When asked how production pattern is essential to the story of The Great Gatsby, production designer Martin says, "Just every bit the music plays a key role in establishing the tone, the sets are primal to establishing character and showing the inner world in an outer mode" (Goldfarb, 2013). The sets of The Great Gatsby are crucial in distinguishing characters from one another past emphasizing their individual personalities and condition. Through production design, the characters in the flick are represented in two prominent means, such as new money versus one-time money and the hollowness of the upper class.
Jay Gatsby's character longed for wealth and sophistication always since he was a boy. This longing intensified later on meeting his love, Daisy Buchanan, who lived this life of luxury. Information technology is no surprise that when Gatsby eventually became a wealthy man, he glitzed and glamorized every attribute of his home. Martin says, "The Buchanans were unbelievably wealthy. Nosotros needed to brand Gatsby'due south wealth feel competitive, because in Gatsby'southward centre he has always believed that the reason he didn't get Daisy was because he was poor" (Yang, due north.d.). Gatsby's character represents a man indulging in new money and uncontrollably spending. Daisy's character represents someone from onetime money that is comfortable and more conservative with her wealth. The production design of Gatsby's extravagant mansion (see Figure 3) compared to the production design of the Buchanan'south luxurious Georgian manor (see Effigy 4) perfectly distinguishes the idea of new coin versus onetime money.
The exterior of Gatsby's domicile, St. Patrick'due south Seminary in Sydney, provides an ostentatious feel of Gothic revival. Catherine Martin explains, "You get this sense of excess — of someone overreaching. This is conveyed in the Neo-Gothic style of Gatsby's house, the almost Versailles-sized fountain in the front end" (Miller, 2013). The massive fountain outside Gatsby's home symbolizes his over exaggeration of wealth upon arrival. While there are touches of classic Art Deco, it is clear Gatsby'south habitation is over-the-top. Daisy's beautiful brick home represents a pristine and calmer view of wealth. Martin says, "And so you get to the Buchanans', which is described in the volume as an enormous pile of red bricks, and information technology is a much quieter view of wealth." (Miller, 2013). Daisy's dwelling house is excessive, yet tasteful and archetype.
Figure 3. Gatsby's home.
Figure 4. Buchanan home.
The difference between new money and old money is also seen in the product blueprint of Gatsby's foyer (see Figure 5) compared to Daisy'due south living room. Martin perfectly created Gatsby'due south mansion to represent his gaudy and ostentatious attitude as well equally reverberate his lack of social grace. Martin says, "We talked about somebody coming in with a lot of money and what changes he would brand to certain rooms" (Goldfarb, 2013). Gatsby's anteroom is equipped with a golden-filigreed ceiling with multiple ornate chandeliers, massive towering columns between large windows, a serpentine staircase, and, the virtually overstated, a marquetry floor with an oversized monogram in the center. Martin created Gatsby'southward grand staircase based on the staircase in La Selva, an Italian villa built in the teens (Keeps, 2013). The staircase is an element of the room Martin believes Gatsby would have added himself. Its overwhelming and flamboyant nature completely takes over the infinite.
Figure 5. Gatsby's foyer
The Buchanan'south living room on the other hand is much more elegant. It is clear from this space that Daisy created a cute, nonetheless functional and homey room to both alive and entertain. Martin furnished their home in a more eclectic way using antiques that "look every bit though it could have been passed down in the family unit for 300 years" (Miller, 2013). While information technology is clear that the Buchanan'due south accept nice things, they are less flashy and up to date equally Gatsby's domicile. The room is small and has a Hollywood Regency and Deco-inflected feel (run into Figure 6). The furnishings, contemporary art, and long vertical windows overlooking the formal gardens are perfectly sophisticated notwithstanding understated. Martin explains these elements of the room are intended to "dissimilarity Daisy with the new-money fantasist that is Gatsby" (Goldfarb, 2013).
Figure 6. Buchanan's sitting room
A popular theme in Fitzgerald'southward The Great Gatsby is the idea of the hollowness of the upper course. The novel portrays the newly rich as vulgar and disgraceful, while those with sometime money as fickle and selfish. Martin displays this idea through production design in the moving picture. While the characters of the upper class alive in massive mansions with high ceilings and common cold marble floors, the characters with less status live in comfy, cozy cottages and apartments.
Nick Carraway is a character that perfectly contrasts Gatsby'south personality and status. He is a content young man trying to make his way in the business world. His rented homey cottage reflects his quiet, trustworthy, and tolerant personality. The cottage Martin created for Nick offers instant comfort and warmth. It is like shooting fish in a barrel to understand why Gatsby and Daisy trust Nick throughout the story after seeing his modest dwelling house (meet Figure vii). The cute entrance adorned with white flowers is instantly welcoming juxtaposed with the round tree demote equally well equally his well-kept lawn and garden. Nick's living room (meet Figure 8) is enclosed with low ceilings and quarter sawn oak beams. The room is filled with Stickley-esque article of furniture and moss green tiles that surround the heart of the fireplace (Goldfarb, 2013). The green tiles and accents throughout the room, combined with the oak piece of furniture and beams, create a feeling of nature and purity. Martin says, "It was all almost finding what we thought were quintessential Long Island motifs" (Heisner, 2011, p. ii). The small nature of the firm with the intimate atmosphere of the private rooms creates a content space that reflects Nick's personality.
Figure 7. Nick Carraway's home.
Figure 8. Nick Carraway's living room.
Similarly, Myrtle Wilson's chaotic apartment (run across Figure nine beneath) above Wilson'southward Garage (see Effigy 10) gives off a welcoming vibe. Similar Nick's living room, the warm red and pink colors could make anyone feel at dwelling house. The walls, shelves, and tables are all cluttered with eclectic frames, vases, and trinkets that represent Myrtle carefree personality. The amount of frames and photographs allude to the idea Myrtle has a strong family background. The flowers scattered effectually the room brand the room seem inviting. It is clear that anyone would feel welcome in this apartment from the scene in the motion picture where Nick visits Myrtle with Tom. Martin says, "In the Fitzgerald book it says the couch is upholstered in something that looked similar the 18th century painting of a girl in a swing by Fragonard. So we had that digitally printed onto the upholstery fabric" (Keeps, 2013). This is another instance of how Martin successfully exaggerated and exemplified a historical chemical element. Through the size, gear up decoration, and colors used in Nick'south and Myrtle's abode, Martin was able to depict the idea that a lower economic status calls for a more modest lifestyle.
Effigy 9. Myrtle's apartment
Effigy 10. Wilson's garage
Equally shown in this paper, The Great Gatsby successfully proves the importance of production blueprint in a film. Catherine Martin's mixture of creativity and historical references brings to life the characters and era of Fitzgerald'south cherished novel. By emphasizing the Art Deco movement, exemplifying the 1920s, and representing the status and various personalities of the characters, Martin adds excitement and disharmonize to the moving picture. The Art Deco elements of the production blueprint along with the attending to 1920s style signify the carefree and wild lifestyle of the time. Similarly, the production design contrasts the main characters personalities and represents ii major themes in the story: new money versus old coin and the hollowness of the upper class. Without the extravagant, dynamic, and well-researched production design, The Great Gatsby film would not accept been able to survive simply based on Fitzgerald's words.
The author is grateful for Professor Don A. Grady at Elon University for his patience, guidance, and mentoring over the by semester. This article could not take been published without his inspiration and encouragement. The author is likewise thankful to Professor Byung Lee of Elon Academy for his supervision and advice during the revision of this article.
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Source: http://www.inquiriesjournal.com/articles/968/2/film-production-design-case-study-of-the-great-gatsby
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