---
title: "The Great Gatsby"
year: 2013
kind: "film"
canonical: "https://film.one/film/the-great-gatsby"
fi1m_id: "the-great-gatsby"
imdb_id: "tt1343092"
tmdb_id: 64682
wikidata_id: "Q892735"
fi1m_score: 61
critics_score: 51
critics_reviews: 24
published: "2026-10-01T22:50:38.236445+00:00"
updated: "2026-10-01T22:50:51.855025+00:00"
region: "AR"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Great Gatsby (2013)

Directed by Baz Luhrmann · 2h 23m · Drama, Romance

## Identity

The Great Gatsby

- **Canonical:** https://film.one/film/the-great-gatsby
- **Type:** Film
- **Fi1m ID:** the-great-gatsby
- **IMDb ID:** tt1343092
- **TMDB ID:** 64682
- **Wikidata ID:** Q892735
- **Same entity:** https://www.imdb.com/title/tt1343092/, https://www.themoviedb.org/movie/64682, https://www.wikidata.org/wiki/Q892735

**Fi1m score: 61** · Critics 51 from 24 reviews

*In a sentence:* Leonardo DiCaprio has to compete with the furniture, and the furniture gets far too much encouragement

> Baz Luhrmann’s lavish adaptation has a persuasive Gatsby in Leonardo DiCaprio and parties worth attending. Intrusive narration and a drawn-out romance make it a qualified recommendation for those who enjoy their drama heavily decorated.

## Synopsis

Jay Gatsby (Leonardo DiCaprio) presides over extravagant parties, while Nick Carraway (Tobey Maguire) narrates the story around him. Daisy Buchanan (Carey Mulligan), Tom Buchanan (Joel Edgerton) and Jordan Baker (Elizabeth Debicki) belong to the social circle Nick observes. Music, elaborate clothes and displays of wealth fill the celebrations, with Gatsby himself at the centre of Nick’s attention. Alongside the parties, Nick’s account follows Gatsby and Daisy’s romance and the hopes Gatsby attaches to it. The private relationship gives him another side of the man to consider amid the public extravagance.

## Review

Baz Luhrmann’s *The Great Gatsby* has enough pleasure in it to justify an evening, provided lavish screen romance is already a temptation. This adaptation of F. Scott Fitzgerald’s novel wants the parties to be seductive enough that we understand the attraction before questioning the waste. That is a sensible way into the material, and for a while the sheer busyness is enjoyable. The trouble begins when the film keeps insisting on feelings the actors are already capable of conveying.

Catherine Martin’s production and costume design does much of the persuading. The lavish party settings and elaborate clothes make the extravagance appealing, which matters: a film about the attractions of wealth ought to let us feel some temptation. Simon Duggan’s photography gives the display a polished brightness, although the emphasis on spectacle can leave the people competing for attention. We enjoyed the parties more than we expected, because the clothes, music and crowded celebrations make this company look like fun.

Leonardo DiCaprio gives Jay Gatsby something more interesting than grandeur. His charm has a delicacy that makes the character’s romantic need credible, even when the film around him is being strenuous. We can believe in the effort required to remain so captivating, and in the strain of needing somebody else to respond. The performance gives us a reason to keep watching Gatsby even when the surrounding spectacle becomes tiresome.

Carey Mulligan’s Daisy Buchanan is less persuasive, though the drawn-out treatment of the romance does her few favours. She has to carry a great deal of the film’s promised feeling, and the character never becomes as compelling as Gatsby’s interest in her demands. Tobey Maguire’s Nick Carraway has the opposite problem: the narration gives him too much explaining to do. The screenplay by Baz Luhrmann and Craig Pearce repeatedly interrupts our chance to judge these people for ourselves.

Jonathan Redmond, Jason Ballantine and Matt Villa keep the spectacle busy, but their editing cannot disguise how often the story returns to the same emotional ground. At 143 minutes, the romance has room to develop and instead begins to drag. Craig Armstrong’s score lends it warmth, while the soundtrack’s contemporary music helps the parties avoid the air of a polite historical re-creation. Both approaches can work; the musical insistence becomes wearing when scenes need less encouragement and more room for the performances.

For a literary adaptation, the film spends surprisingly little time questioning the wealth on display. Its treatment of romance pushes questions about privilege into the background, despite all the attention paid to what money buys. We do not need the director to disapprove of every party guest, but we do need to understand more about how these people justify their behaviour. Too often, the film settles for telling us how intensely Gatsby feels.

For anyone drawn to lavish screen romance, there is enough here to justify the patience it asks for. Those less interested in such display should take the 143-minute running time seriously. Watch it for Leonardo DiCaprio, and be prepared to wait while the film admires the furnishings.

*Fi1m score 61, published 1 October 2026.*

## What the critics say

The reviews lean towards disappointment, though praise repeatedly returns to Leonardo DiCaprio’s Gatsby and the lavish production and costume design. Even several detractors find DiCaprio charismatic and persuasive amid Baz Luhrmann’s excess. The parties, sets and contemporary musical choices give more sympathetic critics an energetic, entertaining adaptation, but the broad consensus is mixed: admiration for individual performances and technical craft rarely settles doubts about the storytelling.

The chief disagreement is over what the spectacle does for Fitzgerald’s novel. Vulture argues that the extravagant parties make its prodigal waste palpable; many other reviews find that the noise and movement bury its social criticism, subtlety and melancholy. Reservations also gather around distracting narration, repetition and a romance that loses momentum. The spread is wide, extending from enthusiastic approval to outright rejection. The Wrap offers a particularly stark dissent from the praise for DiCaprio, finding the performances scattered and Elizabeth Debicki the lone performer with flair.

## Straight answers

**Is The Great Gatsby worth watching?**

*The Great Gatsby* is worth considering if lavish screen romance appeals to you; we score it 61 out of 100. Leonardo DiCaprio’s persuasive Gatsby and the extravagant parties offer real pleasure, but intrusive narration and a romance that drags across 143 minutes make this a qualified recommendation.

**How long is The Great Gatsby, and what is it rated?**

*The Great Gatsby* runs 2h 23m. It is a drama and romance film.

**Where can I watch The Great Gatsby in Argentina?**

*The Great Gatsby* is streaming on Amazon Prime Video in Argentina, and it is also available to rent from Apple TV from AR$3.99. It leaves Amazon Prime Video on 30 September. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Great Gatsby, and is it suitable for children?**

*The Great Gatsby* has a UK 12A certificate, so it is not automatically suitable for younger children, and anyone under 12 needs an accompanying adult at the cinema. The certificate alone does not establish how violent or frightening it is; we would not treat it as a blanket recommendation for family viewing.

**How does The Great Gatsby compare to The Age of Innocence?**

*The Great Gatsby* is the more spectacle-driven romance, while we recommend [*The Age of Innocence*](https://film.one/film/the-age-of-innocence) for its more persuasive treatment of desire constrained by wealth and social rules. Gatsby’s parties offer considerable pleasure, but the romance drags; the comparison film gives its finery more human weight, even when it explains its manners too patiently.

**Is The Great Gatsby based on a true story or a book?**

*The Great Gatsby* is adapted from F. Scott Fitzgerald’s novel, rather than presented as a true story. Nick Carraway’s narration provides a way into Gatsby and Daisy’s romance for newcomers, though we find it intrusive. We would not treat the film as a substitute for the book: its emphasis on romance leaves questions about wealth and privilege underexplored.

**What should I watch after The Great Gatsby?**

After *The Great Gatsby*, try [*The Age of Innocence*](https://film.one/film/the-age-of-innocence) (1993, Fi1m 86): Another romance constrained by wealth, with more attention to the rules. Then [*The Leopard*](https://film.one/film/the-leopard) (1963, Fi1m 88): Grand rooms and fine clothes surround a sharper account of class; and [*In the Mood for Love*](https://film.one/film/in-the-mood-for-love) (2000, Fi1m 91): For longing expressed through glances, clothes and the discipline of restraint.

### Reviews we read (24)

- **The Hollywood Reporter**, Todd McCarthy (70/100, inferred): McCarthy finds the adaptation extravagantly over-the-top but ultimately vibrant and faithful to the novel’s spirit. He praises Leonardo DiCaprio’s charismatic performance and the lavish production design, while criticizing Nick’s distracting narration. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/great-gatsby-film-review-451988/)
- **Vulture**, David Edelstein (70/100, inferred): Edelstein finds the film flawed but ultimately worthwhile, with Fitzgerald’s novel and its themes coming through. He especially praises the extravagant party scenes for making the story’s prodigal waste feel vividly Gatsby-like. [Read](https://www.vulture.com/2013/05/movie-review-the-great-gatsby.html)
- **IndieWire**, Anne Thompson (65/100, inferred): Thompson finds the film an audacious, visually thrilling crowd-pleaser, though its story eventually sags into repetition. She especially praises the spectacularly choreographed Gatsby party, while noting the narrative’s thinness and recurring set pieces. [Read](https://www.indiewire.com/criticism/culture/review-luhrmanns-the-great-gatsby-wows-with-audacious-3-d-visuals-sags-dramatically-198096/)
- **Screen Daily**, Tim Grierson (65/100, inferred): The review presents the film as a serious, big-scale drama with a contemporary attitude. It singles out the star power and hip style, but the paywall prevents access to the critic’s fuller verdict. [Read](https://www.screendaily.com/the-great-gatsby/5054613.article)
- **Sight and Sound**, Nick Pinkerton (65/100, inferred): Pinkerton finds the film a flawed but compelling work, ultimately calling it a real movie. He especially praises Leonardo DiCaprio’s delicate, radiant performance as Gatsby. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-great-gatsby)
- **The AV Club**, Ben Kenigsberg (C+): Kenigsberg finds the adaptation lively and campy, but says it loses structure, nuance, and momentum. He praises the gaudy spectacle and strong casting, while faulting the drawn-out romance and lack of interest in the novel’s subtext. [Read](https://www.avclub.com/the-great-gatsby-1798176752)
- **Slant Magazine**, Richard Scott Larson (2.5/4): Larson finds Luhrmann’s adaptation uneven but ultimately a party worth attending, despite its loss of Fitzgerald’s subtlety. He praises the larger-than-life performances and the soundtrack, especially Lana Del Rey’s song. [Read](https://www.slantmagazine.com/film/the-great-gatsby/)
- **Radio Times**, Stella Papamichael (3/5): Papamichael finds Luhrmann’s adaptation a showy, polished success. She praises its lavish sets and its score, which blends Gershwin with modern music. [Read](https://www.radiotimes.com/movie-guide/b-1lybfm/the-great-gatsby/)
- **Time Out**, Dave Calhoun (3/5): Calhoun rates the film three out of five, indicating a mixed verdict. The visible description points to Luhrmann’s talent for spectacle, but the review text is unavailable to identify a specific point of praise or complaint. [Read](https://www.timeout.com/movies/the-great-gatsby-2)
- **Variety**, Scott Foundas (55/100, inferred): Foundas finds Luhrmann’s extravagant adaptation fascinating at first, but says its spectacle overwhelms the novel’s deeper meaning. He praises Catherine Martin’s production and costume design as a standout technical contribution. [Read](https://variety.com/2013/film/reviews/the-great-gatsby-review-1200447930/)
- **Empire**, Ian Nathan (35/100, inferred): Nathan finds the adaptation excessive and ultimately unsatisfying, despite its dazzling spectacle. He singles out Leonardo DiCaprio’s performance as the film’s standout strength. [Read](https://www.empireonline.com/movies/reviews/great-gatsby-2-review/)
- **The New York Times**, A.O. Scott (35/100, inferred): Scott’s verdict is negative, finding Luhrmann’s adaptation excessive and confused rather than emotionally persuasive. He singles out its lavish visual spectacle, which cannot make up for the film’s lack of depth. [Read](https://www.nytimes.com/2013/05/10/movies/the-great-gatsby-interpreted-by-baz-luhrmann.html)
- **Evening Standard** (30/100, inferred): The critic finds the adaptation overblown and incoherent, with its spectacle overwhelming the delicacy of the novel. DiCaprio is singled out as the film’s strongest performer, while Carey Mulligan’s Daisy is criticized as unconvincing. [Read](https://www.standard.co.uk/culture/film/the-great-gatsby-cannes-film-festival-film-review-8616667.html)
- **Film Comment**, Violet Lucca (30/100, inferred): The critic finds the adaptation unsuccessful. She faults it for missing the punch and point of Fitzgerald’s classic. [Read](https://www.filmcomment.com/review-the-great-gatsby-baz-luhrmann/)
- **Los Angeles Times**, Kenneth Turan (30/100, inferred): Turan finds Luhrmann’s adaptation overwhelmed by its frantic style, leaving little room for the story’s dramatic interest. He praises Leonardo DiCaprio’s charismatic performance as Gatsby as the film’s main success. [Read](https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-great-gatsby-review-20130509-story.html)
- **The Guardian**, Philip French (25/100, inferred): French judges Luhrmann’s adaptation a misconceived, noisy film that tramples on Fitzgerald’s subtleties. He praises the Plaza hotel confrontation for its tension and depth. [Read](https://www.theguardian.com/film/2013/may/19/great-gatsby-review-philip-french)
- **The New Yorker**, Richard Brody (10/100, inferred): Brody finds Luhrmann’s adaptation reductive and ultimately devoid of ideas. He faults its spectacle for lacking seduction and its performances for missing the characters’ complexity. [Read](https://www.newyorker.com/culture/richard-brody/the-great-gatsby-try-again-old-sport)
- **Den of Geek**, David Crow (4.5 out of 5): Crow finds the film an intoxicating, uniquely energetic Baz Luhrmann experience, though its glossy approach loses some of the novel’s moral complexity. He particularly praises the film’s vivid setting and Leonardo DiCaprio’s captivating performance as Gatsby. [Read](https://www.denofgeek.com/movies/the-great-gatsby-review/)
- **Paste**, Jeremy Mathews (6.4): Mathews finds the adaptation stylish and entertaining, but says its distractions keep it from capturing the novel’s deeper melancholy. He praises Leonardo DiCaprio’s performance and the film’s lively social satire, while criticizing its voiceover framing and distracting 3D. [Read](https://www.pastemagazine.com/movies/the-great-gatsby/the-great-gatsby)
- **Eye for Film**, Amber Wilkinson (70/100, inferred): Wilkinson finds Luhrmann generally in control, though he occasionally pushes the style too far. She praises the performances, especially DiCaprio, Maguire, and Mulligan, while finding Edgerton’s Tom unsuccessful. [Read](https://www.eyeforfilm.co.uk/review/the-great-gatsby-2013-film-review-by-amber-wilkinson)
- **The Playlist**, The Playlist Staff (C+): The review finds the film’s lavish style excessive and emotionally hollow, despite its ambitious adaptation. It praises the spectacle and occasional strong performances, but says the visual and musical overkill overwhelms the story. [Read](https://staging2.theplaylist.net/review-the-great-gatsby-is-a-decadently-empty-tale-of-empty-decadence-impossible-love-20130506/)
- **The Skinny**, Becky Bartlett (★★★): Bartlett finds the film flamboyant and romantic, though overlong and increasingly less effective in 3D. She praises DiCaprio’s layered performance and the controlled spectacle that preserves the central romance. [Read](https://www.theskinny.co.uk/film/new-releases/the-great-gatsby)
- **Collider**, Matt Goldberg (C-): Goldberg gives Luhrmann’s adaptation a negative verdict, arguing that it turns Fitzgerald’s critique into a shallow doomed romance. He praises the dazzling costumes and production design, but says the spectacle overwhelms the story and its emotions. [Read](https://collider.com/the-great-gatsby-review/)
- **The Wrap** (10/100, inferred): The critic pans the film as dull, arguing that Luhrmann’s spectacle overwhelms the story and drains it of life. They single out the scattered performances and Elizabeth Debicki as the lone cast member with flair. [Read](https://www.thewrap.com/great-gatsby-review-how-many-flappers-make-flop-89511/)

## Details

- **Director:** Baz Luhrmann
- **Director:** Baz Luhrmann
- **Screenplay:** Craig Pearce, Baz Luhrmann
- **Novel:** F. Scott Fitzgerald
- **Cinematography:** Simon Duggan
- **Editor:** Jonathan Redmond, Matt Villa, Jason Ballantine
- **Music:** Craig Armstrong
- **Production design:** Catherine Martin
- **Costume design:** Catherine Martin
- **Producer:** Catherine Knapman, Catherine Martin, Baz Luhrmann
- **Cast:** Leonardo DiCaprio as Jay Gatsby; Tobey Maguire as Nick Carraway; Carey Mulligan as Daisy Buchanan; Joel Edgerton as Tom Buchanan; Elizabeth Debicki as Jordan Baker; Isla Fisher as Myrtle Wilson; Jason Clarke as George Wilson; Amitabh Bachchan as Meyer Wolfsheim
- **Runtime:** 2h 23m
- **Release (Argentina):** 16 May 2013
- **Genres:** Drama, Romance
- **Budget:** $105 million
- **Box office:** $351 million
- **Trailer:** https://www.youtube.com/watch?v=l6yANES3TMM

## Where to watch in Argentina

- Amazon Prime Video: streaming, leaving 2026-09-30
- Apple TV: rent AR$3.99, hd
- Apple TV: buy AR$9.99, hd

*Checked 2026-10-01.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2014: Best Costume Design (won); Best Production Design (won)
- AACTA Award for Best Actor in a Leading Role 2013: AACTA Award for Best Actor in a Leading Role (won)
- AACTA Award for Best Actor in a Supporting Role 2013: AACTA Award for Best Actor in a Supporting Role (won)
- AACTA Award for Best Actress in a Leading Role 2013: AACTA Award for Best Actress in a Leading Role (nominated)
- AACTA Award for Best Actress in a Supporting Role 2013: AACTA Award for Best Actress in a Supporting Role (won)
- AACTA Award for Best Adapted Screenplay 2013: AACTA Award for Best Adapted Screenplay (won)
- AACTA Award for Best Cinematography 2013: AACTA Award for Best Cinematography (won)
- AACTA Award for Best Costume Design 2013: AACTA Award for Best Costume Design (won)
- AACTA Award for Best Direction 2013: AACTA Award for Best Direction (won)
- AACTA Award for Best Editing 2013: AACTA Award for Best Editing (won)
- AACTA Award for Best Film 2013: AACTA Award for Best Film (won)
- AACTA Award for Best Original Music Score 2013: AACTA Award for Best Original Music Score (won)
- AACTA Award for Best Production Design 2013: AACTA Award for Best Production Design (won)
- AACTA Award for Best Sound 2013: AACTA Award for Best Sound (won)

## If you liked this

- *The Age of Innocence* (1993), Fi1m 86: Another romance constrained by wealth, with more attention to the rules. — [Fi1m page](https://film.one/film/the-age-of-innocence.md)
- *The Leopard* (1963), Fi1m 88: Grand rooms and fine clothes surround a sharper account of class. — [Fi1m page](https://film.one/film/the-leopard.md)
- *In the Mood for Love* (2000), Fi1m 91: For longing expressed through glances, clothes and the discipline of restraint. — [Fi1m page](https://film.one/film/in-the-mood-for-love.md)
- *Bright Young Things* (2003): Privileged partygoers discover that keeping themselves entertained can become exhausting work.
- *A Place in the Sun* (1951), Fi1m 81: A handsome outsider pursues romance and the life he thinks it promises. — [Fi1m page](https://film.one/film/a-place-in-the-sun.md)

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© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-great-gatsby