“Who is this Gatsby?” This question strings together the narrative of the trailer for the up-coming F Scott Fitzgerald adaption,‘The Great Gatsby’, released earlier this week. Of course, this 2.4 minute splicing of cleverly timed scenes and artfully disjointed dialogue provides no definitive answer to the question that haunts its characters, however, it does give the audience an inkling of the sort of product that Warner Bros. will release come Christmas.

During his film career, Australian director Baz Luhrmann has varied his subject matter in both scope and substance– finding inspiration in the domestic, such as in the 1992 dark comedy ‘Strictly Ballroom’, and in the sweeping epic, typified by his 2001 musical romance ‘Moulin Rouge!’ Nonetheless, throughout his cinematic catalogue, Luhrmann has managed to maintain a strong and very idiosyncratic aesthetic. As a result, it is unsurprising that the director’s style permeates every second of his carefully crafted trailer.

In this movie, Luhrmann will retell the seminal story of Nick Carraway, a young man thrust into the whirl-wind social life of elite, disillusioned, post-war Americans who finds himself intertwined with an illicit, uncontainable romance between two extraordinary people.

The actors operate within a world which is purely Luhrmann in its incredible lushness. While the director, and Tobey Maguire’s Nick Carroway, firmly set the movie in a 1920s New York, there is such a great vivacity to Luhrmann’s touch that he elevates the action above the painstakingly reproduced costumes and architecture into a dramatic space that seems almost unreal.

This feeling of being out of time and space is exacerbated by the use of Jay Z ft. Kanye West’s ‘No Church in the Wild’ and U2′s ‘Love is Blindness’ to score the images that flicker on the screen. The pacing of the clips towards the end of the trailer, interspersed by luxurious, gold-plated credits, lead the final moments of the trailer into a fever-pitch of drama as the narrative approaches incoherency.

Baz Luhrmann has never been known for his cinematic restraint and whoever is responsible for this trailer reproduces the feel of Luhrmann’s movies to a tee.

This being said, it is important to note that Fitzgerald’s own elan comfortably shares the stage with Luhrmann’s artistic tendencies. While the presence of Bollywood Superstar Amitabh Bachchan as conspicuously Jewish lawyer Meyer Wolfsheim seems a bit of a misnomer, it is evident even in the trailer that the rest of the cast has a strong grasp on their roles.

Enormously talented indie darling Carey Mulligan fully encapsulates the essence of flighty Daisy and Leonardio DiCaprio’s Jay Gatsby oozes charm while, post-’Spiderman’ Tobey Maguire once again plays the perfect fly on the wall as Nick. Even ‘Animal Kingdom’s’ Joel Edgerton exudes a strong presence as Tom Buchanan despite his lack of screen time.

Quite apart from the on-point casting, it is clear that Luhrmann has maintained some of the most structurally important and viscerally memorable moments of the novel; the scene where Gatsby pulls out his shirts and the disquieting image of Dr T J Eckleberg are both conserved, as is Nick’s third-party narration.

Essentially, it looks like ‘The Great Gatsby’ will keep the shape of the classic novel littering bookshelves of high-school students everywhere, though this silhouette will be re-seen through the lens of one of the most vivid and stylized directors of this film epoch.

And, considering that the trailer’s YouTube viewcount had passed a million views within the first 24 hours of its release, it would seem that the world is eager to have the opportunity to gaze at the characters they’ve always known through these new, powerfully tinted glasses.

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NEW YORK, US – One of underground rock’s most unusual stories of the 1970s, the tale of an obscure debut LP by a Detroit singer-songwriter named Rodriguez becoming a source of hope and inspiration to the anti-Apartheid movement in South Africa, is the basis for the thought-provoking new film, Searching For Sugar Man.

The original motion picture soundtrack album will be available starting July 24, 2012 through Legacy Recordings, a division of Sony Music Entertainment. The vinyl version of the soundtrack will be released by Light In The Attic Records.

Searching For Sugar Man, a Red Box Films & Passion Pictures Production in association with Canfield Pictures & The Documentary Company, distributed by Sony Pictures Classics, premiered in New York on April 24, 2012 at the Tribeca Film Festival. The film opens in New York and Los Angeles on July 27, 2012 and will open in other markets throughout the month of August.

Directed by Malik Bendjelloul, Searching For Sugar Man tells a story that begins with the 1970 release of Rodriguez’s debut album, Cold Fact. In its Reissues Of The Year tally for 2008, Rolling Stone magazine called the album “A remarkable artifact of Michigan hippie soul by singer-songwriter Sixto Diaz Rodriguez.” The soundtrack album on Legacy will compile tracks from Cold Fact and its follow-up LP of 1971, Coming From Reality, reissued to critical acclaim in 2008 and 2009, respectively.

Celebrated Motor City producers Dennis Coffey and Mike Theodore discovered Rodriguez in the late 1960s in a local bar and were struck by his Dylanesque songwriting. A charismatic and mysterious artist behind his shades, Rodriguez had built a strong local following, a true folk hero in the purest sense.

Cold Fact was a fusion of gritty funk with “street-tough lyricism and psychedelic folk arrangements,” in the words of Doug Freeman of the Austin Chronicle. The album’s politically-charged “topical lyrics and druggy avant-garde arrangements” “folk-soul weirdness” and “lysergic gutter poetry” were unique even in the ’70s.

Nevertheless, the album did not succeed commercially, and despite the release of a second LP, Rodriguez drifted into obscurity. Rumors of his fate were widely and wildly exaggerated, ranging from reports of escalating depression to a sensationally gruesome suicide onstage, involving self-immolation.

Meanwhile, the LP had made its way around the world to South Africa, where it was banned by a repressive government. Copies were bootlegged and circulated, and Rodriguez inadvertently became the soundtrack of an emerging liberal African youth, whose resistance movement adopted Cold Fact as its rallying cry. Over the next two decades, Rodriguez became a household name in the country, where the number of copies of Cold Fact would have earned it platinum sales status.

Both sides of the story, Rodriguez’s life in Detroit and the subsequent impact of his music in the smoldering Apartheid era, pre-Nelson Mandela, proved fascinating to Stockholm-based documentary filmmaker Malik Bendjelloul. His subjects have included Kraftwerk, Bjork, Sting, Elton John, Rod Stewart, Madonna, Mariah Carey, U2, Kylie Minogue, Prince, and others.

His short documentary films for Swedish Television’s international cultural weekly show Kobra became the basis for such films as Men Who Stare At Goats (George Clooney) and The Terminal (Tom Hanks). The evolution of the financing, production, and filming of Searching For Sugar Man is as fascinating and complex as the life of Rodriguez himself.

“I describe myself as ‘musico-politico’,” Rodriguez said recently. “I was born and bred in Detroit, four blocks from the city center. Back then, I was influenced by the urban sounds that were going on around me all the time. Music is art and art is a cultural force. As far as my work from Detroit comparing to the South African Apartheid, the similarities echo. The placards of the 1970s in the United States read things like: We Want Jobs and Stop the War – I was looking at the music from a working class.

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U2 lead singer Bono denied the reports that he had been taken to hospital after complaining of chest pain while on holiday in the south of France. Singer’s spokeswoman claims he is in “good health” and his hospital visit was just a routine checkup.

Various websites published a story that Bono had been rushed to a hospital by his wife Ali Hewson, after she became concerned about him suffering from palpitations and chest pains. The 51-year old did go to the Princess Grace Memorial hospital in Monacoon Wednesday August 17, and the Irish Independent claimed he was examined by a leading heart specialist and ordered to get some rest.

Irish Central website claimed that he had undergone a battery of tests before being discharged, quoting an insider saying, “as I understand it he was seen by a doctor. He is okay now but he got a fright.” Bono’s health scare was first reported by the broadsheet newspaper, Irish Independent.

It’s clear now that the reports are false and it’s also confirmed that the only health problems Bono had were in the form of a back injury, which he obtained while he was on a record-breaking world tour in 2010. “Despite press stories to the contrary, Bono has not suffered a recent health scare.

Reports of his being rushed to hospital for emergency treatment are untrue. Bono is in good health and enjoying a family holiday in the south of France,” the spokeswoman for Bono said in a statement to Reuters. Bono was later spotted relaxing in Monaco’s nightspot, Saas Café, with his wife, Julian Lennon and Irish designer John Rocha on Friday, August 19.

The group was forced to cancel several gigs in 2010 and pulled out of the Glastonbury music festival in England when Bono injured his back while rehearsing in Germany for the tour. He recovered in time to resume the gruelling schedule and the band returned to perform on the main stage at Glastonbury this summer.

U2 recently wrapped up their mammoth 360° world tour in Canada. The jaunt grossed a record-breaking $736,137,344 (£448 million). The success of the 360° Tour, which began in Barcelona on June 30, 2009, has been attributed to the band’s ground-breaking 360-degree production, which can increase the capacity of stadiums by as much as 25 percent.

Meanwhile, U2 are donating $7.2m to support the education system in their native Ireland following the hardship measures introduced in the aftermath to the world banking crisis. The cash will be provided over the course of the next four years and will mainly be used to buy music equipment and pay music teachers wages.

The head of Music Generation, a U2- affiliated charity, Rosaleen Molloy, says: “While we have a very rich musical culture and heritage, access to music tuition is like a geographic lottery. There is an assumption that music is being provided in mainstream schools- while the reality is it’s not.

The band had been looking for a way to invest and support music education in Ireland; they want to give something back.”
Featureflash / Shutterstock.com

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