Gatsby Study Guide.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Gatsby Study Guide.Pdf MONTANA REP STUDY GUIDE / www.montanarep.org 2015 NATIONAL TOUR / THE GREAT GATSBY MONTANA REPERTORY THEATRE STUDY GUIDE by F. SCOTT Anna Dulba Barnett, M.A. Bernadette Sweeney, Ph.D. FITZGERALD’S CONTENTS: PAGE THREE SYNOPSIS PAGE FOUR THE PLAYWRIGHT CAST / CHARACTERS PAGE FIVE DIRECTOR’S NOTE PAGE SIX DESIGN AND PRODUCTION Adapted for the stage by PAGE TEN SIMON LEVY WORLD WAR 1 THE ROARING TWENTIES PAGE ELEVEN NOTES ABOUT THE GREAT GATSBY 2015 NATIONAL TOUR UMARTS College of Visual and Performing Arts School of Theatre & Dance University of Montana Missoula, Montana 59812 MISSION Montana Repertory Theatre tells the great stories of our world to enlighten, develop, and celebrate the human spirit in MONTANA REP is funded in part by a an ever-expanding grant from the Montana Arts Council (an agency of state government), with support from the community. Montana State Legislature, the University of Montana, the Montana Cultural Trust, Dr. Cathy Capps, Dr. Sandy Sheppard, The Dramatist Guild, and The Shubert Foundation. PHOTO BY TERRY J. CYR PAGE 2 / MONTANA REP STUDY GUIDE / www.montanarep.org 2015 NATIONAL TOUR / THE GREAT GATSBY F. SCOTT FITZGERALD’S “That is part of the “beauty of literature. You discover that your longings are universal longings, that you’re not lonely and isolated from Adapted for the stage by anyone. You belong.” SIMON LEVY F. SCOTT FITZGERALD I think I can safely say I love The Great Gatsby. The power of the narrative, the accurate, haunting, and heartfelt snapshot of the Roaring Twenties, and the sheer beauty of the prose still take my breath away. I’ve discovered and rediscovered this masterpiece over the years with new perspective, joy, and appreciation. I first read The Great Gatsby in one thrilling afternoon on the Jersey shore during high school, and I have long dreamed of bringing the novel to the stage. Only recently has this become possible, with the publication of Simon Levy’s masterful adaptation. Although there are several movie versions of varying artistic merit, the stage offers a new, exciting, and fertile ground for the story. On the stage we can feel the energy of Jay Gatsby, the sensual allure of Daisy Buchanan, and the Everyman complexity of Nick Carraway. As Montana Rep continues telling great American stories, we approach The Great Gatsby with all the honor and care such an outstanding work of art deserves. We’re pleased to reintroduce and reinvigorate this classic, bringing the beauty and poetry of this masterpiece–– living and breathing on stage––to a new generation of theatergoers. ~ GREG JOHNSON, ARTISTIC DIRECTOR PAGE 3 / MONTANA REP STUDY GUIDE / www.montanarep.org 2015 NATIONAL TOUR / THE GREAT GATSBY SYNOPSIS ACT ONE: The Great Gatsby is set on Long Island, New ACT TWO: Act II opens on another big party at Gatsby’s York in the summer of 1922. Nick Carraway tells the story mansion, however, this time both Daisy and Tom are of his enigmatic neighbor Gatsby. The play does not have present. The love affair between Gatsby and Daisy is in traditional scenes but rather each sequence shifts into the full bloom. Tom becomes increasingly suspicious of the next as the stage is transformed into different locations and mysterious Gatsby’s intentions toward his wife. Daisy settings. reveals to Nick and Jordan her plan to leave her husband As the play opens, Nick introduces Gatsby as a person and run away with Gatsby. with “a gift for hope, a romantic readiness.” Nick visits The next scene is at Tom and Daisy’s house where Nick, his cousin Daisy, the wife of a wealthy man named Tom Jordan and Gatsby are all present. The atmosphere between Buchanan. While visiting, Nick also meets Jordan Baker the lovers and the suspicious husband becomes more and who is a friend of Daisy’s staying with her for the summer. more intense. Daisy tries to avoid the tension by suggesting During their conversation Nick describes the big parties they all go into the city. They take two cars, with Gatsby that Gatsby is throwing regularly at his mansion which is driving Tom’s car and Tom driving Gatsby’s car. across the bay from the Buchanan’s property. After Jordan They gather in a hot stuffy hotel room in New York. hints that Tom is cheating on his wife, Daisy opens up to Tom begins to get drunk and more aggressive toward Nick about her unhappy marriage. Gatsby. Finally, Gatsby breaks the news to Tom about his The stage then transforms to present three key scenes, romance with Daisy. In order to avoid a brewing fight, Daisy which build the narrative. The first is the auto-shop and gas storms out of the hotel and gets into Gatsby’s car. Gatsby station of Wilson and his wife Myrtle. Tom discusses buying jumps in the car as well and frantically they speed off back Wilson’s car, and it is made clear by the furtive glances to Long Island. Along the way the car passes Wilson’s auto and secret conversation while Wilson is out, that Tom and shop, where Myrtle and her husband have been fighting. Myrtle are having an affair. The second scene transforms When Myrtle sees Gatsby’s car approaching, she thinks it is the stage from Wilson’s garage to a New York apartment, Tom, because he had been driving that car earlier, and she where we see a secret party thrown by Tom and Myrtle. As rushes out in front of the car to stop Tom. Instead Gatsby’s the alcohol flows freely a dispute arises between Tom and car hits Myrtle, but doesn’t stop. Tom is following behind Myrtle and Tom strikes her. The stage then transforms a with Nick and Jordan in his car. They come upon the third time to Gatsby’s mansion where a huge party is taking accident scene and see that Myrtle is dead. place. Nick has been personally invited by Gatsby and, At Daisy’s house, Gatsby assures Daisy that he will wait while unaware of exactly who Gatsby is, Nick discusses for her to give him a sign that she is ready to run away with with Gatsby their experiences during World War I. Across him. After they say goodnight, Nick and Jordan arrive. the bay Daisy stares out from her dock and observes from Gatsby reveals to Nick that Daisy was the one that was afar the lights of Gatsby’s party. She longs to be a part of driving his car when Myrtle was killed. the nightlife of the Long Island residents, but her husband The stage transforms back into Gatsby’s mansion. Gatsby disregards her desires. reveals to Nick the true story of his life and that the Great As the action of the play progresses, Gatsby and Nick Gatsby is just an invention. He insists, however, that take a ride in Gatsby’s hydroplane. During the flight Gatsby his love for Daisy is true. Nick says goodbye and leaves. describes his life to Nick. Later over lunch Gatsby wants to Meanwhile, Wilson comes to Gatsby’s home bent on make a request of Nick but, since the matter of his appeal revenge. He brings a gun and, finding Gatsby defenselessly is so delicate, he has Jordan participate in the conversation. floating on an air mattress in the pool, shoots him and then Jordan reveals to Nick the details of a romance that once turns the gun on himself. bloomed between Gatsby and Daisy and tells him how, The play ends with Nick’s narration describing Gatsby’s while Gatsby was off fighting in World War I, Daisy married funeral. No one showed up to mourn him, not even Daisy. Tom. Now Gatsby wants Nick to help him reunite with All the crowds that had gathered at Gatsby’s mansion to Daisy. party during his life failed to gather when it was time to Nick invites Daisy to his house, where Gatsby anxiously honor him in death. Nick ends with a reflection on Gatsby’s awaits her arrival. As Gatsby and Daisy meet the old spark romantic faith in possibilities. Gatsby had picked the site of love is reignited and the lovers make new plans to for his mansion deliberately to be across the bay from the arrange a future together and “repeat the past.” green light that blinked at the end of the dock on Daisy’s property. “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 arm farther …. So we beat on, boats against the current, borne back ceaselessly ceaselessly into the past.” PAGE 4 / MONTANA REP STUDY GUIDE / www.montanarep.org 2015 NATIONAL TOUR / THE GREAT GATSBY THE AUTHOR THE CHARACTERS F. SCOTT FITZGERALD FRANCIS SCOTT KEY JAY GATSBY FITZGERALD (September 24, 1896 “there was something … gorgeous about him … – December 21, 1940) is considered one some heightened sensitivity to the promises of life. of the greatest American authors of the He has an extraordinary gift for hope, a romantic 20th century. He wrote four novels The readiness such as I never found in any other person” Great Gatsby, This Side of Paradise, The Beautiful and Damned, and Tender Is the This is Nick Carraway’s description of Jay Gatsby at the Night. Of these, The Great Gatsby is the beginning of the play. Gatsby is a striking, mysterious and most famous. intriguing man. He reveals himself to the audience little Fitzgerald’s own ambitions and those of his wife Zelda by little, but only at the end of the play does his true story pushed him to more lucrative forms of writing such as short become known.
Recommended publications
  • Biographical Background
    アメリカ文学 A American Fiction in the 20th Century F. Scott Fitzgerald, The Great Gatsby, and America in the 1920s Lecture on Biographical Background: Fitzgerald and the Writing of The Great Gatsby How to Cite this Lecture: Armstrong, Christopher J. “Fitzgerald and the Writing of the Great Gatsby,” Chukyo University, American Literature A, 3 June & 12 July 2019. American Fiction in the 20th Century Outline: Part 1: Family and College Life, First Love and Zelda Sayre Part 2: Great Neck, Long Island, France, Italy and The Writing of The Great Gatsby American Fiction in the 20th Century Family and College Life •Born Francis Scott Key Fitzgerald, St. Paul, Minnesota, 1896 •Grew up in a middle-class Roman Catholic family •Mother: Mollie McQuinlan, daughter of Irish immigrant and successful business man •Father, Edward, president of furniture manufacturing company •Two daughters born, both died in 1896, the year of Scott’s birth •Edward’s business failed in 1898, family moved to Buffalo, later Syracuse, back to Buffalo •Mollie’s money helped support the family •Third daughter born, 1900, died •Fourth daughter born, Annabel, 1901 Edward Fitzgerald and •Return to St. Paul, 1908: Father “a failure the rest of his son Scott his days” (FSF) American Fiction in the 20th Century Family and College Life •Residence in the Summit Avenue district of St Paul, St. Paul. MN, 1900-1910 1908-11 •Scott’s playmates: wealthy, affluent •Scott aware of social distinctions •Publishes fiction, poetry in the school paper •1911-13: Scott attends the private Catholic Newman School in New Jersey Residence of railway tycoon James J.
    [Show full text]
  • F Scott Fitzgerald's New York
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1993 His Lost City: F Scott Fitzgerald's New York Kris Robert Murphy College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Murphy, Kris Robert, "His Lost City: F Scott Fitzgerald's New York" (1993). Dissertations, Theses, and Masters Projects. Paper 1539625818. https://dx.doi.org/doi:10.21220/s2-zdpj-yf53 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. HIS LOST CITY: F. SCOTT FITZGERALD’S NEW YORK A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Kris R. Murphy 1993 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, July 1993 Scott Donaldson Christopher MacGowan Robert Maccubbin TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.............................................................................................iv ABSTRACT.............................................................................. ...................................... v CHAPTER I. ‘The far away East. .the vast, breathless bustle of New York”. 3 CHAPTER II. “Trips to New York” (1907-1918)........................................................ 11 CHAPTER III. ‘The land of ambition and success” (1919-1920) ................................ 25 CHAPTER IV. ‘The great city of the conquering people” (1920-1921)...................... 53 CHAPTER V.
    [Show full text]
  • THE GREAT GATSBY by Kristina Janeway Other Titles in This Series
    Using the DOCUMENT-BASED QUESTIONS Technique for Literature: F. SCOTT FITZGERALD’S THE GREAT GATSBY by Kristina Janeway Other Titles in This Series Using the Document-Based Questions Technique for Literature: Harper Lee’s To Kill a Mockingbird Item Number 4B4971 Using the Document-Based Questions Technique for Literature: Arthur Miller’s The Crucible Item Number 4B4973 Using the Document-Based Questions Technique for Literature: Elie Wiesel’s Night Item Number 4B4972 Using the Document-Based Questions Technique for Literature: Lois Lowry’s The Giver Item Number 4B5905 Using the Document-Based Questions Technique for Literature: John Steinbeck’s Of Mice and Men Item Number 4B5926 Using the Document-Based Questions Technique for Literature: William Golding’s Lord of the Flies Item Number 4B5924 Using the Document-Based Questions Technique for Literature: George Orwell’s Animal Farm Item Number 4B5925 Using the Document-Based Questions Technique for Literature: George Orwell’s 1984 Item Number 4B6077 Using the Document-Based Questions Technique for Literature: Mark Twain’s Adventures of Huckleberry Finn Item Number 4B5906 Using the Document-Based Questions Technique for Literature: Ayn Rand’s Anthem Item Number 4B6224 Using the Document-Based Questions Technique for Literature: Ray Bradbury’s Fahrenheit 451 Item Number 4B6167 Table of Contents About the Author ........................................................................................................................................................ 3 Correlation to Common Core
    [Show full text]
  • Fitzgerald's Critique of the American Dream
    Undergraduate Review Volume 7 Article 22 2011 God Bless America, Land of The onsC umer: Fitzgerald’s Critique of the American Dream Kimberly Pumphrey Follow this and additional works at: http://vc.bridgew.edu/undergrad_rev Part of the American Literature Commons, and the Other American Studies Commons Recommended Citation Pumphrey, Kimberly (2011). God Bless America, Land of The onC sumer: Fitzgerald’s Critique of the American Dream. Undergraduate Review, 7, 115-120. Available at: http://vc.bridgew.edu/undergrad_rev/vol7/iss1/22 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Copyright © 2011 Kimberly Pumphrey God Bless America, Land of The Consumer: Fitzgerald’s Critique of the American Dream KIMBERLY PUMPHREY Kimberly is a senior n James Truslow Adams’ book, The Epic of America, he defines the studying English and American dream as “that dream of a land in which life should be better and richer and fuller for everyone, with opportunity for each according to ability Secondary Education. or achievement” (404). In the middle of the roaring 1920’s, author F. Scott This paper was IFitzgerald published The Great Gatsby, examining the fight for the American kindly mentored by dream in the lives of his characters in New York. Fitzgerald illustrates for the reader a picture of Gatsby’s struggle to obtain the approval and acceptance of high Professor Kimberly Chabot Davis society and to earn the same status. Jay Gatsby travels the journey to achieve the and was originally written for the American dream, but his dream is corrupted and outside forces prevent him from senior seminar course: Gender, Race, ever fully attaining it.
    [Show full text]
  • Literary Analysis: Color Symbolism in the Great Gatsby, by F. Scott Fitzgerald.” Helium 8 Nov
    Yaffe, Kyle. “Literary analysis: Color symbolism in The Great Gatsby, by F. Scott Fitzgerald.” Helium 8 Nov. 2008. Web. 29 July 2013. Vibrant, deadly, deceiving, innocent - colors are the dominating symbols utilized by F. Scott Fitzgerald in his masterpiece The Great Gatsby . Daniel J. Schneider, the Chairman of the Department of English for Windham College, states, "The vitality and beauty of F. Scott Fitzgerald's writing are perhaps nowhere more strikingly exhibited than in his handling of the color symbols in The Great Gatsby." Throughout the book characters, places, and objects are given "life" by colors, especially the more prominent ones. The colors of white, yellow, and green are the most eminent, easily distinguishable from the rest, and representing purity, death, and hope. Such strong symbolic colors are seen continually, and exist to provide a higher and more in depth meaning to the book. "White is one of the main symbolic colors in The Great Gatsby, representing purity, innocence, and honesty" (Adam H.). Nick Carraway, Jay Gatsby, Jordan Baker, and Daisy Buchanan all directly exemplify Adam's statement. Nick considers himself the only truly honest person he knows (Fitzgerald 60) and often wears white, such as when he attends one of Gatsby's parties for the first time. This event being considerably significant, Nick wanted to make the best impression he could - that is, appearing untainted and honest - for Gatsby and the other guests. Gatsby also adorns himself in white when he finally reunites with Daisy after five years of separation. "and Gatsby, in a white flannel suit, silver shirt, and gold-colored tie, hurried in" (Fitzgerald 84).
    [Show full text]
  • The Sigma Tau Delta Rectangle
    The Sigma Tau Delta Rectangle Journal of Creative Writing Sigma Tau Delta International English Honor Society Volume 90, 2015 Editor of Publications: Karlyn Crowley Associate Editors: Kacie Grossmeier Anna Miller Production Editor: Alex Velicer St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Mari Evans Kyoko Mori Kim Addonizio Anne Fadiman Scott Morris Edward Albee Philip José Farmer Azar Nafisi Julia Alvarez Robert Flynn Howard Nemerov Rudolfo A. Anaya Shelby Foote Naomi Shihab Nye Alison Bechdel H.E. Francis Sharon Olds Saul Bellow Alexandra Fuller Walter J. Ong, S.J. John Berendt Neil Gaiman Suzan–Lori Parks Robert Bly Charles Ghigna Laurence Perrine Vance Bourjaily Nikki Giovanni Michael Perry Cleanth Brooks Donald Hall Gin Phillips Gwendolyn Brooks Robert Hass David Rakoff Lorene Cary Frank Herbert Henry Regnery Judith Ortiz Cofer Peter Hessler Richard Rodriguez Henri Cole Andrew Hudgins Kay Ryan Billy Collins William Bradford Huie Mark Salzman Pat Conroy E. Nelson James Sir Stephen Spender Bernard Cooper X.J. Kennedy William Stafford Judith Crist Jamaica Kincaid Lucien Stryk Jim Daniels Ted Kooser Amy Tan James Dickey Ursula K. Le Guin Justin Torres Mark Doty Li-Young Lee Sarah Vowell Ellen Douglas Valerie Martin Eudora Welty Richard Eberhart David McCullough Jessamyn West Timothy Egan Erin McGraw Jacqueline Woodson Dave Eggers Daniel Mendelsohn Katja Esson Marion Montgomery Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Sue Yost Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Kevin Stemmler Copyright © 2015 by Sigma Tau Delta All rights reserved under International and Pan–American Copyright Conventions.
    [Show full text]
  • The Great Gatsby Historical Context and Introduction
    The Great Gatsby Historical Context and Introduction "It was an age of miracles," Fitzgerald wrote of the Jazz Age. “It was an age of art, it was an age of excess, and it was an age of satire. F. Scott Fitzgerald 1896-1940 A Short Biography Francis Scott Key Fitzgerald was born in St. Paul, Minnesota on September 24, 1896. His parents, although poor, had some social status. Fitzgerald was named after his second cousin, Francis Scott Key, the author of “The Star-Spangled Banner.” While his family was not prosperous, Fitzgerald’s mother nurtured social ambitions in her only son. An elderly aunt helped finance his tuition at a private Catholic boarding school in New Jersey called The Newman School and then, in 1913, at Princeton University. At the time, Princeton University was viewed as a training ground for the American upper class. Coming from a background of “financial anxiety,” while at Princeton, Fitzgerald developed a fascination with the very rich. While his grades were low, he excelled in his writings for the Princeton Triangle Club Dramatic Society and the Princeton Tiger. Fitzgerald’s writing from that time shows that he was self-conscious about the differences between himself and his wealthy classmates. Although his grades were suffering, Fitzgerald was more upset with his struggles to make the Princeton football team. In 1917, during his third year at Princeton, Fitzgerald left school in order to enlist in the United States Army. After passing a special examination, he was commissioned a Second Lieutenant in the infantry. In June 1918, while stationed at Camp Sheridan, near Montgomery, Alabama, twenty-one year old Fitzgerald met and fell madly in love with eighteen-year-old Zelda Sayre.
    [Show full text]
  • Reportatge FRANCIS CUGAT, L’ALTRE CUGAT
    reportatge El 24 de maig farà 120 anys que va néixer, accidentalment a Barcelona, Francesc Cugat i Mingall, un home excepcional que va destacar, sobretot en la seva etapa nord-americana, en diverses disciplines. Francis Cugat, el nom amb el qual es conegut, va viure sempre, en la seva etapa adulta, a l’ombra de Xavier Cugat, fet que va suposar que, malgrat el seu gran talent, hagi passat injustament a la història no pel que va fer sinó pel fet de ser el germà gran de Xavier, un personatge d’enormes proporcions, poc valorat aquí, però molt reconegut en vida als EUA, on, per donar una dada, va participar a la Casa Blanca en la cerimònia d’obertura de mandat de set presidents del país. Francis Cugat, l’altre Cugat JOAN BARBARÀ > TEXT I FOTOS rancis Cugat va ser el Inquietuds artístiques primer fill del matrimo- Malgrat la incertesa dels temps que ni que formaven Joan corrien i que no hi havia tradició ar- Cugat de Bru i Àvila Min- tística a la família, Francis Cugat va gall. Després d’ell varen orientar de ben jove la seva vida cap a Fvenir l’Albert, en Xavier i l’Enric. L’ac- la vessant cultural. Sense perdre mai tivitat política del pare —un republicà el contacte amb els seus, quan va po- compromès— les dificultats econòmi- der, va marxar a França i es va apuntar, ques de l’època i les seves ambicions d’antuvi, a l’acadèmia de Reims, i pos- artístiques varen fer que els Cugat en teriorment va ser alumne de l’Escola general, i ell en particular, visquessin de Belles Arts de París.
    [Show full text]
  • ART DECO and BRAZILIAN MODERNISM a Dissertation
    SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirement for the degree of Doctor in Philosophy in Spanish By Patricia A. Soler, M.S. Washington, DC January 23, 2014 Copyright by Patricia A. Soler All rights reserved ii SLEEK WORDS: ART DECO AND BRAZILIAN MODERNISM Patricia A. Soler, M.S. Thesis advisor: Gwen Kirkpatrick, Ph.D. ABSTRACT I explore Art Deco in the Brazilian Modernist movement during the 1920s. Art Deco is a decorative arts style that rose to global prominence during this decade and its proponents adopted and adapted the style in order to nationalize it; in the case of Brazil, the style became nationalized primarily by means of the application of indigenous motifs. The Brazilian Modernists created their own manifestations of the style, particularly in illustration and graphic design. I make this analysis by utilizing primary source materials to demonstrate the style’s prominence in Brazilian Modernism and by exploring the handcrafted and mechanical techniques used to produce the movement’s printed texts. I explore the origins of the Art Deco style and the decorative arts field and determine the sources for the style, specifically avant-garde, primitivist, and erotic sources, to demonstrate the style’s elasticity. Its elasticity allowed it to be nationalized on a global scale during the 1920s; by the 1930s, however, many fascist-leaning forces co- opted the style for their own projects. I examine the architectural field in the Brazil during the 1920s.
    [Show full text]
  • The Great Gatsby Questions
    The Great Gatsby (2013) Directed by Baz Luhrmann Preparing for the Film 1. What historical facts about the 1920s might lead to the audience's expectations for the settings, costumes, and even the plot of this film set in that time period? 2. What does the term "The American Dream" mean to you? What are the various components of the dream? 3. In a romantic relationship thwarted by family disapproval or unrequited affection, what are some of the feelings and hopes that might develop in the person who was rejected? 4. If you have read F. Scott Fitzgerald's novel The Great Gatsby, what are some challenges that a director might encounter adapting it for a film version for viewers today? Reflecting on the Film 1. Focusing on the opening scene, what can we infer about the narrator and his motive for this recollection of Jay Gatsby? Explain and evaluate the effectiveness of this narrative framing device, unique to Luhrmann's production. 2. Jay Gatsby does not appear in the film for some time. What is the effect of postponing his presence on the screen? 3. As the film continues, Nick and the audience learn more about Jay Gatsby's background. How does his history help viewers understand the man we see in the mansion on West Egg? 4. Earlier than Gatsby, the audience meets Tom Buchanan and his wife Daisy. What does the director want viewers to see about Tom? 5. The film is rich with images of Long Island and New York City life. Six distinct areas provide important physical and thematic settings for the action of the film: The Buchanan home, Jay Gatsby’s estate, Nick Carraway’s rented cottage, the Wilsons’ apartment above the gas station in the Valley of the Ashes, Tom’s city apartment for his trysts with Myrtle, and the Plaza Hotel room in the city, rented for one afternoon.
    [Show full text]
  • The F. Scott Fitzgerald Society Newsletter
    The F. Scott Fitzgerald Society Newsletter Volume 23 DECEMBER 2013-2014 The Twelfth International F. Scott Fitzgerald Conference: Montgomery, AL Nov. 6-10, 2013 An antique car worthy of Jay Gatsby helped set Along the way, we enjoyed an afternoon at the the backdrop, the local St. James School band Montgomery planetarium, an aperitif at the local played a medley of jazz and Gatsby-inspired Aviator Bar, and a night of wholly un-1920s rock tunes, and the Southern drawl of Sally Carrol ‘n’ roll in which we were treated to the sizzlin’ Happer filled the air during a performance of guitar licks of Richard Martin and learned that Bill “The Ice Palace” at the opening reception for Blazek is the reincarnation of Hank Williams and the 12th International F. Scott Fitzgerald Society that Walter Raubicheck can channel Dion on com- Conference in Montgomery, Alabama. mand. That vivacious evening, hosted by the F. The closing reception, our “Belles and Jelly-Beans Scott and Zelda Fitzgerald Museum and the Ball,” was held on the Harriott II riverboat. There City of Montgomery, got things off to a great were costumes aplenty as men channeled their start, and the events and excitement contin- inner Gatsby and women their inner flapper. As ued over the next four days of Fitztrava- we cruised along the Alabama River, participants ganza/Zeldapalooza.” enjoyed not only the starry evening and the Montgomery skyline, but also a jazz-age cocktail Around 200 people attended all or some of the presentation by Philip Greene, author of To Have various events during the course of the confer- and Have Another: A Hemingway Cocktail Compan- ence, including academic and scholarly ses- ion.
    [Show full text]
  • “Old Sport” Is Jay Gatsby's Way of Life: Familiarity, Snobbery, Ridicule
    東洋大学人間科学総合研究所紀要 第21号(2019)27‐4327 “Old Sport” Is Jay Gatsby’s Way of Life: Familiarity, Snobbery, Ridicule, and Failure* Tomoyuki ASAKAWA** 1. Introduction F. Scott Fitzgerald gave Jay Gatsby certain characteristics in The Great Gatsby (1925). One of them is his “smile,” another is “old sport.”1 “[In] Gatsby, Fitzgerald made the smile a chief part of the character’s makeup. The smile becomes as synonymous with Gatsby as the use of ‘old sport’” (Dubose, 90n). Since Fitzgerald was aware of the importance of the phrase, he increased its usage in the narrative―it appeared only 4 times in the manuscript (Bruccoli, Introduction xxix-xxx), 38 times in the galleys, and 45 times in the published edition.2 His use of “old sport,” drastically increased through the revisions, contributes to making Gatsby conspicuous― “The ‘old sport’ phrase [. .] fixes Gatsby as precisely as his gorgeous pink rag of a suit” (Eble 90). Gatsby him- self uses “old sport” 42 times out of 45 uses. “Old sport” is not a mere term of address. It was originally an “early twentieth-century British upper-class slang term” (Randall III 191) and a sophisticated phrase used among students at Oxford in those days.3 Jay Gatsby, however, is neither an alumnus of Oxford nor a member of the upper class. Moreover, the inconsistency of the novel makes “old sport” more difficult to comprehend. In Gatsby, a person from a certain class does not necessarily exhibit behaviors, language, or a manner of speech suited to their class. The man whose “parents were shiftless and unsuccessful farm people” (Gatsby 76; henceforth GG ) in the Middle West does not act in tune with his origin.
    [Show full text]