F. Scott Fitzgerald's The Great Gatsby explores the whirlwind lives of the New York upper class of 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 arisen 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 staying true to the heart of the novel, ultimately making it the most effective adaptation. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Choices in soundtrack and audio editing impact the reception of both films. Clayton chose to have time-accurate pieces, choosing the parties to be very traditional in tone and feel. While this establishes the appropriate time frame for the work, it limits interpretations of scenes by performing surface-level analysis. The parties, while containing the debauchery so evident in Fitzgerald's book, are limited by this literal interpretation and the scenes are aurally disappointing despite Gatsby's intense or desperate actions. However, Luhrmann chose to use modern music to overlay Gatsby's shots, scenes and parties. This choice provides another layer to the film itself. Having modern music, the sense of corruption and raw depravity is accentuated through contemporary lyrics and creates images of a growing city and era. With modern music, the significance of the historical period is better communicated as well as the festive atmosphere. Parties are much more raucous and intense. This gives a modern twist to the film, with the choice of soundtrack expanding on the ideas of growth and change in the New York landscape of the time. Despite the differences in the soundtrack, the audio editing is similar. Both directors use periods of silence to call attention to emotions and reactions during the hot summer scene in which 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 give greater emphasis to particular cases that the book does not necessarily apply. With this addition of sound, or lack thereof, films can further expand the book's ideas. However, regarding the use of music and soundtrack, Luhrmann's 2013 version of the novel proved to be more effective as it expands the text. The symbols of the novel are further accentuated in Luhrmann's film version, introducing new layers to the novel. In Clayton's version, the green light is depicted at the beginning of the film when Gatsby is introduced, but not explored further. In the novel, the green light represents Gatsby's unattainable dream of winning Daisy's heart. Light is seen in scenes involving Gatsby's desire, such as when Gatsby wonders if it is possible to reach the past. In this way the symbol is seen and understood, but is not built upon and is instead only explored on a surface level. The symbol is present to the same extent as in the novel and carries with it the same meaning, but is barely observed by the director and not particularly emphasized. However, in Luhrmann's version, this symbol has a noise associated with it. From the very beginning, when Gatsby was first introduced on the pier, a low tone is heard every time the light flashes at Daisy's end of the pier. This toneit continues to play every time Gatsby looks at Daisy's house, and even when he seems to have won her heart. During their relationship, there is a scene where Gatsby holds Daisy, but even with her in his arms, the threatening tone sounds again. Luhrmann managed to take this symbol of unattainable dreams and extend it further by applying it to a scene that was not included in the book and did not reference the green light. By also applying this symbol during the relationship, Luhrman highlights this central idea of ​​the novel, the unattainability and desperation of the dream. By exploiting media, Luhrmann expands the pre-existing symbols and meaning of the text to create an effective adaptation and interpretation. Both 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 them picnicking and swimming at Gatsby's mansion. In the novel itself, the courtship is largely vague, with only references to a few events along the way such as the dismissal of the servants. However, Clayton delves deeper into the courtship in his adaptation with these additional scenes. This inclusion of additional scenes deepens Gatsby's attempts to achieve his dream, the scenes themselves are given ideal, imaginary love stories. Gatsby attempts to recreate this perfect future and relationship, and Clayton shows these attempts in more depth than in the novel. This addition provides further insight into the heart of the novel, strengthening this attempt to create an ideal relationship, and Gatsby's failure to realize this dream is also strengthened. Luhrmann creates a similar effect through the use of repeated phrases. Throughout the 2013 film, Daisy repeatedly says "I wish it could always be so" (Luhrmann), to which Gatsby says it can be. This interaction occurs during their dates, when they dance, and culminates in Gatsby telling Nick that he doesn't understand why they can't just go back. Through Gatsby's repetition of holding onto the dream, the idea of ​​the unattainable dream is accentuated. Daisy is shown to realize that it is too late to go back, but Gatsby clings to the past and the illusion. While both films strive to accentuate the relationship between Gatsby and Daisy and the unachievability of Gatsby's dream regarding the relationship, Luhrmann's technique proves more effective. It provides more dialogue and by bringing the conflict back, it intensifies the core of the novel. The visual choices in each film, such as color and mise-en-scene, serve to heighten the drama on screen and the scenes to emulate the novel. One of the major differences between the two adaptations was the style, with Clayton adopting a classical style and Luhrman taking a modern, dramatic approach. The colors and editing style in Clayton's adaptation are reminiscent of lazy summer days. The muted colors in scenes like the tea party at the Buchanans' house at the beginning of the film are all whites and creams, and the foliage isn't particularly vibrant either. The cuts are smooth and completely disappointing. Even in party scenes, colors are subdued and the camera operates smoothly. Clayton's adaptation effectively showcases the setting, summer in New York, and creates a smooth finished product. However, the adaptation is limited by the very literal reworking of the setting and does little to show the underlying tones of desperate relationships and intense emotions, especially with Gatsby. Luhrmann's adaptation however takes a colourful, crisp and vibrant approach. The composition of the scenes themselves is surprisingly lively and full of color.