On the great Gatsby

If the past tells something is the benefits that come from chasing/wishing upon a star. The bible speaks of a guiding north star that oriented the three wizzard kings to the nativity of Jesus. Disney reimagines the Italian tale of an old clock craftman, whose untainted nobility is acknowledged by a mercyful fairy that grants him the life of Pinocchio. BAZ LURHMANM adaptation of the novel by F. SCOTT FITZGERALD's THE GREAT GATSBY sets iteself as a modern tale in which its protagonist strives for that wishing star. The film is a fairy tale made real in a capitalist world where distinctions, regardless of monetary station, like in reality, weight heavily.

The film at its core is a sociological commentary of an ever present division that dwells culturally. The great Gatsby examines the character GATSBY played by LEONARDO DICAPRIO as a subject determined to reach beyond his stationary in an almost fairytale like idealism that's devotingly unbreakable, even for his own sake.

Lurhmanm's presentation is of visual oppulence and a frivolous jubilation that swirls around the enigma that's Gatsby. From beginning to end, Gatsby is enshrouded in mystery and ambivalence: a constant derail that builds effectively anticipation in every aspect of the present and yet absent Gatsby. In one of his best performances, DiCaprio ads charm and humanity; he evokes mistery, enchantment, entertainment, fear, and ultimately empathy.

Gatsby's introduction to the audience is so interesting to observe. The character seems to be almost embedded in the film's universe, and concurrently resides on a separate plane: a plane created solely for himself that's both above and under from the rest. It's a kind of omnipresent entity that's constantly latent, even when he's missing from screen. By the time he's introduced, it becomes a cinematohraphical spectacle where characters move from one point to the other in a hit and miss sequence, until the elusiveness of Gatsby prevails and he presents himself to them (fireworks and all.)

If we'd put it from a Disney perspective, the film is a tale that narrates the prince charming part of the story: his return, sacrifice, endeavors, and even the inclusion of his struggle to contain his own darkness.  DiCaprio adamantly becomes the character and without any inhibition, he lets "hero" take charge and presents us to his fanattic idealism to rescue a princess that in a typical fairy tale, she'd have waited for his return, but did she? Gatsby is so attached to such ideals that his very entrails shake, when the purity of his picture perfect plans are doubted by the very princess that he seeks to save.

CAREY MULLIGAN plays DAISY. the ever ambiguous daisy that takes us by surprise, for those of us that never read or saw the previous encarnations of the story. In fact, I've heard critiques that credit Mulligan for adopting a slightly different approach from the book. Perhaps it was the need to provide an actress like Mulligan's caliber enough material to work with the character that moved the writers to detour from the book's shallow Daisy. Whatever power that may be that opted for the film's approach, Mulligan gives a solid multilayered performance; not quite as spellbinding as DiCaprio's, but she  manages to ride on the same league.

Mulligan's Daisy is sympathetic, which is more merited oppose to TOBEY MAGUIRE's NICK  that seems to blatantly flat out from the get go.
Fortunately, Lurhmanm's Gatsby has more stellar moments than hit and misses; eventhough ISLA FISHER's character seems almost muted and blended on the background, JOEL EDGERTON gives a veritable performance as the self confident TOM. Only second to Dicaprio, Edgerton's  character is both an amicable antagonist and a supporting nemesis that in my opinion deserves a best supporting nomimation. And since Maguire is the narrator and the eyes of this luscious world, he was expected to pick our interest, but instead he drags the film with his voice over and peter parker like performance. Unwillingly I bet, he paves the triumphant entrance for Dicaprio that saves the film from an early character driven lackluster call.

On Lincoln

My discernation on the lastest war epic film by Steven Spielberg LINCOLN is of a profound admiration for the caliber of its performers. I've never been a fan of Mr Spielberg ever since JURASSIC PARK 3. These last few years, he has delivered entertaining and remarkable historically educational films that excel in epic proportions that center on pure human drama: AMISTAD, SAVING PRIVATE RYAN, MUNICH, WAR HORSE to name a few. The epic scale is submersive and riveting; they revolve around the nuclear core that's emotional human conflict.
In my opinion this is where he triumphs unquestionably to the point of exploitation. The emotional prowess is so remarkably overused. It's a manhandling situation where the viewer is told where to feel a sentiment. Most of Spielberg's films share the common factor that's best described as a sentimental manipulation. I'm not saying that cinema doesn't exploit human empathy to establish connections, a rapport with the audience. It's what drives a good script. But in the case of Spielberg, I dare to suggest that he has mastered the art of dictating emotions to the audience. Where and on what scene we're supposed to cheer, cry, hate, feel intensity, etc.
In Lincoln something refreshing and interesting happens; it's as if Spielberg distances himself from the film, and in turn he allows the characters to drive and overtake each scene. Every act feels like an adrenaline rush that's non stop with clever performances from a stellar cast led by SALLY FIELD, TOMMY LEE JONES, DAVID SPADER, and DANIEL D. LEWIS. 
Lincoln is a historical piece a-la-SOCIAL NETWORK where the narrative is intense and brilliantly dinamic. We have a piece that could've easily been a heavy convoluted mess due to its huge cast, and the three instead one historical events happening almost at the same time: the american civil war, the abolition of slavery, and the life/death of president Lincoln. Instead, the film focuses on the passing of the 13th amendment and the last moths of Lincoln. It presents us with an intimate and closer perspective, inside the cabinet's conflict at the house of representatives.
We get glimpses of the civil war; and yet it's uncanny how Spielberg, known for his war epics, opted to use a minimalistic approach regarding the proportion of the conflict. He emphasizes on Lincoln's own war to win supporters for his reelection and for the achievement of measures so drastic at that time but needed to end the war once and for all. Perhaps it's just a Spielberg's evasion from having two civil war epics back to back given that his war horse film was released a year before. Or perhaps, Spielberg's attempt was to create a genuily intimate atmosphere: placing the audience so close to Lincoln, his office, his family, his conference table, his arguments, and his never before portrayed humanity.
Day Lewis delivers one of the best performances of the year; he brings the legend back to life, and he breathes freshness to the character with such tactile  realism that it's hard to picture the real Lincoln being any different. We see a Lincoln that's more of a conversationist, a seducer of words that charms with anecdotes funny at times, but solid in execution to get a point across. DayLewis's Lincoln is a man of conviction aware of his shortcomings; he's also aware of the immense influence that his tittle rightfully gives him, and he doesn't hesitate to invoke, and abuse it if needed.
Lincoln is a film led by its character driven narrative and mesmerizing performances; Sally Fields gives a sympathetic characterization of Mary Todd Lincoln both hipnotic and rich in its psychological shades. My personal favorite, Tommy Lee Jones delivers one of the best supporting performances of the year as Thaddeus Stevens; he's a force to reckon whenever on screen. Jones gives a jack of all trades feature to his character. From beginning to end, Jones is an unpredictable wild card through and through that never ceases to surprise.
Lincoln is a film that carries well, as a political play field, historic piece, drama, and character driven story; the cast is top notch that reminds us of the versatility and nuclear artistry that establishes Daniel Day Lewis as the best acting performer of the year.