Gender and sexuality in The Great Gatsby

ROLES OF WOMEN
- "NEW WOMAN" OF THE 1920'S

In all three remakes there are a range of stereotypical representations of men and women, some which I have discovered to be evident in all the films. Beginning with women it is crucial to understand the historical context of each remake, for example Luhrrman’s and Clayton’s adaptations are set in the 1920’s – therefore they must consider the historical events that shaped society in the 20’s in order to create a realistic atmosphere. In terms of attitudes towards women in the 1920’s there were many changes from previous roles and expectations of women due to the prosperity in America at the time. The decade was in fact called ‘The Roaring 20’s’, or as Fitzgerald himself claimed ‘The Jazz Age’, this was a time in which women’s traditional roles were challenged and it became more acceptable for women to drink, smoke and dance in public with men. The most accepted belief of where this change came from is that women had earned their freedom and their right to vote through their contribution to the war effort in the First World War. Some men feared this to be the downfall of society and the breakdown of families, mostly because during the war women took on traditional male jobs that needed to be filled. I feel that this fear manifests itself partly in the form of Jordan Baker in Luhrrman’s The Great Gatsby as she embodies the kind of new woman that emerged in this time. With her androgynous name, which remains the same across Luhrrman and Clayton’s adaptations, and her flapper lifestyle she is represented as a more masculine woman. This is only strengthened, as her lifestyle is independent and she is a professional golf player – an occupation that is stereotypically male. In Fitzgerald’s novel Jordan and Nick are involved in a romantic relationship however in Luhrrman’s remake there is no reference or signs that they might be involved at all. This may be due to the fact that Jordan represents an independent and strong woman; perhaps Luhrrman did not want to show her as being dependent on a man in any way. I feel that the context of the time the film was made has an impact on why Jordan is represented in such a way, in 2013 third wave feminism was a big thing – meaning that to accurately represent strong women it would not be right to show dependence on men. Even in Clayton’s adaptation in 1974, during second wave feminism, a relationship between Jordan and Nick is suggested by Daisy however nothing comes of it. The difference here is that there was some reference to a romance between the two, however second wave feminism had still not advanced women’s rights to the point that third wave feminism maybe had. 











- Jordan Baker in Baz Luhrrman's The Great Gatsby, 2013












- Jordan Baker in Jack Clayton's The Great Gatsby, 1974
A point might also be made that the 'new woman' is sexually free - or more liberated than in previous decades. This is shown in Luhrrman's remake more so than Clayton's, mainly because the 1970's (the time of Clayton's film) was still relatively conservative. Jordan and other 'new women' are constantly seen to attend Gatsby's extravagant parties where women are dancing with men in ways that could be described as promiscuous. This doesn't seem to be looked down or disapproved by society and it could be because the women at these parties are wealthy and have a high social status. A specific example is the difference between the way that Daisy and Gatsby's affair is represented in contrast to Myrtle and Tom's affair namely the end result of the relationships, this example may also cross into the category of class. In Clayton's adaptation Daisy is always shown to be wearing white with pearls and neatly waved blonde hair, her first appearance in both Clayton and Luhrrman's films is through billowing white curtains. This gives her an air of innocence and beauty, something that continues to characterise her affair with Gatsby as they are always shown to be laughing together and drinking champagne or sitting talking with each other. Here a stark binary opposition is presented as when the spectator is introduced to Myrtle in Luhrrman's remake, she is shown to be wearing bright fishnet stockings, a low cut dress and outrageous make up. The camera pans upwards from her red high heels so that the focus is on her sexuality, representing her as dangerous and promiscuous - the opposite of Daisy. When looking at Myrtle and Tom's relationship a contrast is also evident, where Daisy and Gatsby's love is portrayed as pure and innocent Tom and Myrtle's is always shown as purely sexual and lewd. For example in Clayton's 1974 remake Myrtle is seen to passionately kiss Tom in a car right in front of Nick without a care. Therefore it may be said that upper class relationships and affairs are represented in both Luhrmann and Clayton's remakes as being innocent and pure - even though the relationship itself was an extra-marital affair, whereas Tom's affair with a lower class woman is represented distastefully as something purely sexual. 






- One of Gatsby's parties in Baz Luhrrman's The Great Gatsby, 2013
 







- One of Gatsby' parties in Jack Clayton's The Great Gatsby, 1974












- Daisy Buchanan in Baz Luhrrman's The Great Gatsby, 2013












- Daisy Buchanan in Jack Clayton's The Great Gatsby, 1974
- MATERIALISTIC WOMAN

Another key representation of women that I have noticed across all three remakes is an obsession with money and materialism. Beginning with Cherot’s 2002 version G, contextually 2002 was a time period when hip-hop culture was at its height and it may be said that it was a revival from the 1980’s. Hip-hop has been criticised for as long as it has existed for it’s supposed misogynistic values and lyrics and the way it objectifies women in music videos. Due to this I feel there are lots of depictions of women as being materialistic or as ‘gold diggers’ in G, the biggest example would be that of Nicole. Nicole is Craig’s girlfriend and she is continuously represented as being materialistic, selfish and unsatisfied with her current status. When she is first introduced she is with Craig, who reveals that he feels like a "one hit wonder" and she replies with "I wouldn't be with a one hit wonder" - here her character is set up to be shallow. Throughout the film Craig and Nicole's relationship is shown to be under strain, mostly because Nicole is unhappy with their financial status and their inability to afford their own home. Finally Craig discovers that Nicole has been having an affair with a wealthy lawyer who has his own house and when confronted she appears unapologetic and cold towards him, with no regard that he was about to propose to her. This is in a sense similar to Daisy Buchanan in Luhrrman's adaptation, throughout the entire film Daisy is shown to be materialistic in various ways - but it could be argued that this representation is simply typical to the upper classes and is to be expected. For example Jordan Baker states that Tom "swept her away" with a string of pearls worth $350,000 - here Daisy could be seen as being easily bought. Another small detail which could be said to represent women as nothing but materialistic is the fact that when Nick introduces the different people at Gatbsy's parties, he refers to the men as lawyers or businessmen. However when introducing the female guests he almost trivialises them by referring to them as "heiresses comparing inheritances", as if they are only capable of becoming wealthy through other men, in comparison to the men who have real careers and earn their money. Here the context of the 1920's must be highlighted as in that patriarchal time period most women were unable to pursue careers or even just have a well paying job, so their only option was to receive money from male benefactors. To further reinforce this representation, perhaps more overtly, is Myrtle Wilson. In Clayton and Luhrrman's remakes Myrtle is Tom Buchanan's mistress and a mechanic's wife. In the sequence where the spectator is introduced to Myrtle in Clayton's remake, Myrtle is shown to  fawn over some puppies and immediately looks to Tom when she is told the price. In doing this she is represented as financially dependent on Tom and this is something that she enjoys, this is clear through her joy when holding the puppy. Elaborating on Myrtle, in both Clayton and Luhrrman's films she is participating in the affair with Tom simply to get a taste of the wealthy lifestyle. She tells Wilson that she would never have married him if she knew how poor he was, despite how much love and affection he showers her with - allowing her to do what she likes in a time where women were still oppressed by men. This is more blatantly said in Clayton's adaptation when Nick asks Daisy if Jordan would marry a man with no money and her reply is to laugh and say "of course not". In doing this Cherot, Clayton and Luhrrman all construct and maintain a representation of gender that intertwines women with money and materialism.













- Nicole Marshall in Christopher Scott Cherot's G, 2002

- Myrtle Wilson in Baz Luhrrman's The Great Gatsby, 2013
- Myrtle Wilson in Jack Clayton's The Great Gatsby, 1974










- Myrtle Wilson holding her puppy in Jack Clayton's The Great Gatsby, 1974
- A MAN'S WORLD

Having said above that the 1920's was a time of prosperity for both men and women, it must be clarified that it was still definitely a patriarchal society where men had the most social, political and financial control. For example although in America after the First World War there were 25% more women in the workforce, they worked only until they were married. This gave men the upper hand over women and fed into the already strong belief of male superiority as a norm. As Clayton and Luhrrman's remakes are both set in the 1920's this patriarchal society is something that is prevalent within the two films. With Cherot's hip-hop adaptation the diegesis is set in 2002 in the height of third wave feminism meaning that society is not as patriarchal and women are lawfully equal to men in most ways. Although this is true, as mentioned above, hip-hop culture is and has always been heavily criticised for being misogynistic - for this reason the world shown in G still represents men as the ones in control. An example of this is the way that Tom Buchanan treats his wife Daisy in Luhrrman and Clayton's remakes. Throughout the two films Tom is involved in an affair with Myrtle Wilson and is considerably open about it, this leaves the impression that men are able to do what they please with no consequence. In Clayton's remake he point blank tells Nick "I want you to meet my girl" with no regard as to the fact that Nick is Daisy's cousin - Tom clearly feels no shame in what he's doing simply because he is not told that he should. As well as openly speaking about his affair he has aggressive tendencies most clearly shown in both remakes when he strikes Myrtle across the face for mentioning Daisy's name - he does this in front of a room full of people as well. The remarkable thing about this is that nobody stops him or does anything to punish him for his actions - strengthening the idea that men are untouchable in society. However, in Cherot's 2002 adaptation when Chip slaps Ladara across the face at a bbq the whole room attempts to stop him and fight him for what he did - here it is suggested that perhaps violence towards women is not accepted and that society is not as male dominated as it was in the 1920's. It may be said that in the patriarchal diegesis' of Luhrrman and Clayton's women are resigned to their fate as secondary citizens, always answerable to men. For example at the beginning of both remakes Daisy states tearfully that she wishes for her daughter to grow up to be "a beautiful little fool" because that is all a girl can be in the world. This suggests that Daisy is aware of the limitations placed upon women in society but also that she does not challenge it or do anything to make a change. 
 
- Tom Buchanan in Baz Luhrrman's The Great Gatsby, 2013

- Tom Buchanan in Jack Clayton's The Great Gatsby, 1974

- Chip Hightower in Christopher Scott Cherot's G, 2002