By Caitlin O'Hara
In Baz Luhrmann’s The Great Gatsby, shiny cars move like cartoons through the lush greenery of the Eggs; even the natural world is dripping in excess. His valley of ashes spins with so much hot, dirty dust that if you see the 3D version, as I did, you may be tempted to cough. And Gatsby himself, with his “tan skin” which was “drawn attractively tight” on his face – an unforgettable detail from the book – is noticeably, almost laughably, accurate.
The film is as visually excessive as promised – loud and colorful, set to a backdrop of perfectly-coordinated glitzy costumes, CGI...
