Mia Farrow and Carey Mulligan played Daisy Buchanan in the 1974 and 2013 versions of 'The Great Gatsby', respectively.
Two of my all-time favourite actresses in one of the most intriguing characters to adapt on-screen. 'Intriguing' because Daisy Buchanan is one of the most divisive characters in all of literary history, soliciting in equal degrees sympathy and disgust from readers and critics with regards to her characterisation, and her actions as a character. I for one feel there's no 'right' way so to speak, to play Daisy, as F. Scott Fitzgerald's novel is so structured through both Nick Carraway's subjective POV, and Carraway's POV of Gatsby's POV, and even Jordan Baker's own POV, that it all becomes a multiplicity of viewpoints that makes up the character of Daisy. She is effectively distanced from the reader, as mysterious as the green light which represents Gatsby's love for her, which gives the actress playing her freedom to interpret the character in different ways. That's all a bit vague, I know, but does attest to the fact that Daisy is a pretty hard character to get a grasp on, a challenege for both actress and audience.
So how do Farrow and Mulligan fare? Well as aforementioned I am a huge fan of both, and have difficulty in ranking the two of them amongst my favourite actresses because they're so neck for neck in much of their filmography, but I have to say here that Mulligan really blows Farrow out of the water here. Like Redford, there's just something inherently off, not the wrong approach so to speak, but she just feels a bit awkward in my opinion in her whole character creation of Daisy. It's a shame since she otherwise seems to fit the role of Daisy perfectly, Daisy should be a brunette yes but her blonde locks and wide dreamy eyes do seem to fit the role, and her silent portion of the performance, in the initial scenes, is just fine as she does nail the whole fun-loving, floppily languid physical aspect of Daisy.
Where the problem lies is when she opens her mouth to speak. Farrow's high-pitched, oddly mannered speaking voice here I think was intended to emphasise the constantly turbulent, unpredictable nature of Daisy, but I feel it just came across as being a bit annoying. It's not all that different to the voice she used in Woody Allen's 'Broadway Danny Rose', but whereas there she properly fitted it into the whole screwball comedic tone of the film, here it just comes across as a bit jarring for both the way the character is written, and the overall tone of the film. There's never a moment in these initial scenes where she doesn't seem to be ACTING Daisy out, her whole mannered manner as Daisy just seems unnatural, very odd dor an actress for whom this is her normal strength.
As for Mulligan, what more can I say than just throw the lady more complex novel characters to play. Though not nearly on the level of her amazing, amazing, amazing (all tricolons of amazing necessary), performance as Bathsheba Everdeen in 'Far From the Madding Crowd', she's still rather good here, albeit a bit limited by the film, as Daisy. The whole sassy, teasing manner of the character is much more downplayed, and all the more effective here than Farrow's approach as Mulligan just feels more natural in emphasising all of Daisy's little tics. One thing I do quite like about Mulligan is the unique approach she has of 'disappearing' into characters. She's not the chameleonic sort, nor should she be, instead she implements her very interesting set of techniques as an actress - her natural air of defiance, the way her lips curl in those unique ways, her uniquely expressive eyes - to make Daisy into her own creation, unlike Farrow who perhaps tries a bit too hard to CREATE Daisy through mannerisms. Farrow does, like Redford, improve a bit as the film goes on, she doesn't really change her whole manner per say, but rather tones it all down a bit. Technically speaking hardly the most consistent of performances, but it does give her a few better moments like the romantic scenes with Redford after the first bland reunion. Mulligan is also quite good in the equivalent scenes, she does get sidelined a bit by the louder, more overt performances of DiCaprio, Edgerton and even Maguire, but she does her deer-eyed routine well enough and whenever the camera focuses on her, she makes the most of it. The scene which she excels the most, her reunion scene with Gatsby. 'Far From the Madding Crowd' might have taken a directorial touch or two from Luhrmann here in lingering upon Mulligan's face Celia Johnson style as it really works wonders, as in a few silent moments Mulligan can so efficiently and magically convey the complexities of Daisy as a character.
Mulligan: 4/5
Farrow: 2/5
So how do Farrow and Mulligan fare? Well as aforementioned I am a huge fan of both, and have difficulty in ranking the two of them amongst my favourite actresses because they're so neck for neck in much of their filmography, but I have to say here that Mulligan really blows Farrow out of the water here. Like Redford, there's just something inherently off, not the wrong approach so to speak, but she just feels a bit awkward in my opinion in her whole character creation of Daisy. It's a shame since she otherwise seems to fit the role of Daisy perfectly, Daisy should be a brunette yes but her blonde locks and wide dreamy eyes do seem to fit the role, and her silent portion of the performance, in the initial scenes, is just fine as she does nail the whole fun-loving, floppily languid physical aspect of Daisy.
Where the problem lies is when she opens her mouth to speak. Farrow's high-pitched, oddly mannered speaking voice here I think was intended to emphasise the constantly turbulent, unpredictable nature of Daisy, but I feel it just came across as being a bit annoying. It's not all that different to the voice she used in Woody Allen's 'Broadway Danny Rose', but whereas there she properly fitted it into the whole screwball comedic tone of the film, here it just comes across as a bit jarring for both the way the character is written, and the overall tone of the film. There's never a moment in these initial scenes where she doesn't seem to be ACTING Daisy out, her whole mannered manner as Daisy just seems unnatural, very odd dor an actress for whom this is her normal strength.
As for Mulligan, what more can I say than just throw the lady more complex novel characters to play. Though not nearly on the level of her amazing, amazing, amazing (all tricolons of amazing necessary), performance as Bathsheba Everdeen in 'Far From the Madding Crowd', she's still rather good here, albeit a bit limited by the film, as Daisy. The whole sassy, teasing manner of the character is much more downplayed, and all the more effective here than Farrow's approach as Mulligan just feels more natural in emphasising all of Daisy's little tics. One thing I do quite like about Mulligan is the unique approach she has of 'disappearing' into characters. She's not the chameleonic sort, nor should she be, instead she implements her very interesting set of techniques as an actress - her natural air of defiance, the way her lips curl in those unique ways, her uniquely expressive eyes - to make Daisy into her own creation, unlike Farrow who perhaps tries a bit too hard to CREATE Daisy through mannerisms. Farrow does, like Redford, improve a bit as the film goes on, she doesn't really change her whole manner per say, but rather tones it all down a bit. Technically speaking hardly the most consistent of performances, but it does give her a few better moments like the romantic scenes with Redford after the first bland reunion. Mulligan is also quite good in the equivalent scenes, she does get sidelined a bit by the louder, more overt performances of DiCaprio, Edgerton and even Maguire, but she does her deer-eyed routine well enough and whenever the camera focuses on her, she makes the most of it. The scene which she excels the most, her reunion scene with Gatsby. 'Far From the Madding Crowd' might have taken a directorial touch or two from Luhrmann here in lingering upon Mulligan's face Celia Johnson style as it really works wonders, as in a few silent moments Mulligan can so efficiently and magically convey the complexities of Daisy as a character.
Mulligan: 4/5
Farrow: 2/5
Bruce Dern and Joel Edgerton played Tom Buchanan in the 1974 and 2013 versions of 'The Great Gatsby', respectively.
Dern's performance as Tom Buchanan I have to say is one that has kind of grown on me as time goes by. When I first watched the film his whole bombastic, All-American approach really got on my nerves after a while, and I always got the vibe he was just doing a whole 'tough guy' act not very effectively. Well after re-watch I have to admit, while not the most appealing approach, Dern does pretty much nail what the character should be. A loud, snobbish and hypocritical jock who acts a lot tougher than he actually is. Fairly simplistic on the whole, but he does it well, and was perhaps right to go about the role in this relatively one-note manner. Dern as always adds that little bit of extra manic intensity to his roles just through his casting, and it's no different here as he's particularly intimidating in the scenes where he's berating and manipulating Scott Wilson's George Wilson.
Edgerton on the other hand, instead of playing it safe like Dern, goes out on a bit of a limb with Tom. In that he takes an incredibly stylized approach to the character, kind of like a 1920's gangster but with an added touch of East Egg prissy refinement to his manner. Well it's certainly entertaining to watch the usually reserved Edgerton play this snarling oaf of a man with supposed 'class', and while in most adaptations of 'Gatsby' he might have stuck out like a sore thumb, here it really does work quite well in tandem with the overall excesses and OTT-ness of the film. It might not be as accurate to the novel's conception of Tom as Dern's performance is, but he works just about as well for the film. I will say though, that what Edgerton kind of lacks that Dern had was that aforementioned manic intensity. Everything he does stays within that stylized gangster approach, and he always seems perhaps a bit too in touch with his senses than Tom should be. Quite an entertaining performance though, and a good example of a stylized take on a character that works well with the film.
Edgerton: 3.5/5
Dern: 3.5/5
Edgerton on the other hand, instead of playing it safe like Dern, goes out on a bit of a limb with Tom. In that he takes an incredibly stylized approach to the character, kind of like a 1920's gangster but with an added touch of East Egg prissy refinement to his manner. Well it's certainly entertaining to watch the usually reserved Edgerton play this snarling oaf of a man with supposed 'class', and while in most adaptations of 'Gatsby' he might have stuck out like a sore thumb, here it really does work quite well in tandem with the overall excesses and OTT-ness of the film. It might not be as accurate to the novel's conception of Tom as Dern's performance is, but he works just about as well for the film. I will say though, that what Edgerton kind of lacks that Dern had was that aforementioned manic intensity. Everything he does stays within that stylized gangster approach, and he always seems perhaps a bit too in touch with his senses than Tom should be. Quite an entertaining performance though, and a good example of a stylized take on a character that works well with the film.
Edgerton: 3.5/5
Dern: 3.5/5
I think I'd give Edgerton a 4, he's very good I think in bringing the right viciousness to the role while still making him human. I thought Dern was good and above most of the cast of the 1974 version, but he'd only be a 3 for me as he does overact a lot sometimes. I totally agree with you on Mulligan and Farrow and their ratings - Mulligan brought both the desperate and the shallow edge of Daisy, while Farrow was just shrill and annoying.
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