The Great Gatsby by F. Scott Fitzgerald explores the whirlwind lives of upper-class New York in the 1920s. In the novel, Fitzgerald criticizes the unattainability of the American dream as well as the superficial nature of the upper class. Several film adaptations have come from this novel, including films directed by Clayton (1974) and Luhrmann (2013), each interpreting the novel differently. While Clayton presents a literal and superficial interpretation of the work, Luhrmann expands on the existing work while remaining true to the heart of the novel, ultimately making it the more effective adaptation. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The choices in soundtrack and audio editing impact the reception of both films. Clayton chose to have pieces that were true to the era, choosing for the holiday to be very traditional in tone and feel. While this sets the appropriate time period for the work, it limits interpretations of the scenes by taking such surface-level analysis. The parties, while containing the debauchery so prominent in Fitzgerald's book, are limited by this literal interpretation and the scenes seem sonically underwhelming despite Gatsby's intense or desperate actions. However, Luhrmann chose to use modern music to overlay Gatsby's shots, scenes, and parties. This choice brings another layer to the film itself. By having modern music, the feeling of corruption and utter depravity is enhanced by the contemporary lyrics and creates images of a growing city and era. With modern music, the importance of the times is better communicated as well as the mood of the holidays. Parties seem much louder and more intense. This brings a modern feel to the film, with the choice of soundtrack expanding the ideas of growth and change in the New York landscape of the time. Despite the differences in soundtrack, the audio editing is similar. Both directors use periods of silence to draw attention to emotions and reactions during the hot summer scene when Tom discovers the affair. This technique of drawing attention to the characters' reactions is effective in both films. Through this use of sound it is possible to place greater emphasis on particular cases that the book does not necessarily apply. With this addition of sound, or lack thereof, films can further develop the ideas in the book. However, when it comes to the use of music and soundtrack, the 2013 version of Luhrmann's novel was found to be more effective as it expands on the text. The symbols of the novel are further accentuated in the Luhrmann version of the film, bringing a new dimension to the novel. In Clayton's version, the green light is depicted at the beginning of the film when Gatsby is introduced, but not developed. In the novel, the green light represents Gatsby's unattainable dream of winning Daisy's heart. Light is visible in scenes involving Gatsby's desire, such as when Gatsby wonders if the past can be reached. Through this, the symbol is seen and understood, but it is not constructed and is only explored on a superficial level. The symbol is present in the same way as the novel and carries the same meaning, but it is simply observed by the director and is not particularly highlighted. However, in Luhrmann's version, a noise is associated with this symbol. From the very beginning, when Gatsby was first introduced on the pier, a serious tonesounds every time the light flashes at the end of Daisy's dock. This tone continues to play every time Gatsby looks at Daisy's house, and even once he appears to win her heart. During their affair, there is a scene in which Gatsby holds Daisy, but even with her in his arms, the ominous tone reappears. Luhrmann was able to take this symbol of unattainable dreams and expand it further by applying it to a scene that was not included in the book and did not refer to the green light. By applying this symbol even during the relationship, Luhrman highlights this central idea of ​​the novel, the inaccessibility and despair of the dream. By leveraging media, Luhrmann expands on the text's pre-existing symbols and meaning to create effective adaptation and interpretation. Clayton and Luhrmann further promote the heart of the novel, that the dream is often unattainable and the pursuit futile, through additional scenes depicting the relationship between Gatsby and Daisy. Clayton includes scenes of Daisy and Gatsby's courtship, including picnicking and swimming in Gatsby's mansion. In the novel itself, the courtship is largely vague, with just references to certain events that occur along the way, such as the dismissal of the servants. However, Clayton expands on the courtship in his adaptation with these additional scenes. This inclusion of additional scenes develops Gatsby's attempts to realize his dream, the scenes themselves are ideal dates, imaginary romances. Gatsby attempts to recreate this perfect future and relationship, and Clayton shows these attempts in more depth than the novel. This addition provides deeper insight into the heart of the novel: by reinforcing this attempt to create an ideal relationship, Gatsby's failure to achieve this dream is also reinforced. Luhrmann creates a similar effect by using repeated phrases. Throughout the 2013 film, Daisy repeatedly says, "I wish it could always be this way" (Luhrmann), to which Gatsby responds that it can be. This interaction occurs on their dates, when they dance, and culminates in Gatsby telling Nick that he doesn't understand why they can't just go back. Through the repetition of Gatsby's attachment to dreams, the idea of ​​the unrealizable dream is emphasized. Daisy realizes it's too late to go back, but Gatsby clings to the past and the illusion. While both films strive to emphasize the relationship between Gatsby and Daisy and the unattainability of Gatsby's dream regarding the relationship, Luhrmann's technique proves more effective. This provides more dialogue and by bringing the conflict back, it strengthens the heart of the novel. Each film's visual choices, such as color and mise-en-scene, serve to heighten the drama on screen and scenes to mimic the novel. One of the biggest differences between the two adaptations was the style, with Clayton opting for a classic style and Luhrman taking a modern, dramatic approach. The colors and editing style of Clayton's adaptation are reminiscent of lazy summer days. The muted colors in scenes like tea at the Buchanans' at the beginning of the film are all white and cream, even the foliage isn't particularly vivid. The cuts are soft and quite disappointing. Even in party scenes, colors are muted and the camera works fine. Clayton's adaptation effectively shows the setting, summer in New York, and creates a slick finished product. Nonetheless, the adaptation is limited by the very literal reshuffling of the setting and does not serve to show the underlying tones of desperate relationships and strong emotions, particularly with Gatsby. Luhrmann's adaptation, however, takes an approach.