F. Scott Fitzgerald's The Great Gatsby and Neill Blomkamp's 2013 film Elysium might appear worlds apart—one a quintessential American novel of the Roaring Twenties, the other a dystopian science-fiction blockbuster. Yet, a closer examination reveals striking thematic and structural echoes, particularly in their portrayal of stark class divisions, the desperate pursuit of an idealized past or future, and the ultimate futility of such aspirations. Both narratives, through their central characters and settings, critique societal structures that foster profound inequality and the tragic consequences for those caught in their orbit.
The most evident parallel lies in the stark stratification of society. In Gatsby, this is depicted through the opulent mansions of West Egg and East Egg juxtaposed against the "valley of ashes." The wealthy elite, represented by Tom and Daisy Buchanan, inhabit a world of effortless privilege, insulated from the struggles of the working class. Similarly, Elysium presents a literal, physical division: the pristine, orbital habitat of Elysium, a haven for the wealthy, floats above a ravaged, overpopulated Earth where the poor eke out a meager existence. Max Da Costa, the protagonist of Elysium, embodies the plight of those on Earth, his very existence defined by the desperate need to reach the sanctuary above. This mirrors Nick Carraway's initial fascination with Gatsby's wealth, a wealth built on the dream of recapturing a lost love and a bygone era, much as the inhabitants of Elysium have retreated to a fabricated paradise.
Central to both narratives is the theme of an unattainable dream. Jay Gatsby's entire existence is dedicated to recreating his past with Daisy, a woman now married to the wealthy Tom Buchanan. His extravagant parties and immense fortune are all tools to bridge the chasm of time and social standing that separates them. This pursuit, fueled by a romanticized memory, blinds him to the reality of Daisy's character and Tom's entrenched power. In Elysium, Max's dream is more immediate and survival-oriented: to reach Elysium and cure his fatal radiation poisoning. His quest is powered by the hope of a better life, a future free from the daily grind and the pervasive threat of death on Earth. However, like Gatsby's dream, Max's goal is almost impossible to achieve without profound sacrifice, and the very system he seeks to enter is designed to repel him. The film suggests that the "dream" of Elysium is not a place of genuine refuge but a gilded cage, maintained by a ruthless elite.
The characters of Gatsby and Max, despite their different contexts, share a fundamental idealism that ultimately proves destructive. Gatsby believes his wealth and charm can rewind time and reclaim Daisy's love. He is a figure of immense, if misguided, hope, a man who "bought into" the American Dream and sought to perfect it. Max, initially resigned to his fate on Earth, is driven by a desperate hope for survival and a chance at a life of dignity, a more visceral, earthly version of the dream. His transformation from a cynical survivor to a self-sacrificing hero, echoing Gatsby's ultimate downfall, highlights the tragic cost of pursuing such ideals within flawed systems. Both men are ultimately destroyed by the very societies that created their impossible desires. The wealth of East Egg and the technological marvel of Elysium are not beacons of progress for all, but instruments of exclusion and oppression.
Furthermore, the symbolic use of color and setting amplifies these parallels. Fitzgerald uses the green light at the end of Daisy's dock as a symbol of Gatsby's distant, unattainable hope. Blomkamp employs the stark visual contrast between the grimy, industrial Earth and the pristine, sun-drenched Elysium. The "green" of Gatsby's light finds a parallel in the vibrant, verdant landscapes of Elysium, a visual representation of the paradise that remains out of reach for the majority. The opulent homes of East Egg and the sterile luxury of Elysium serve as gilded prisons, places where wealth insulates but also isolates.
In conclusion, while separated by genre and era, The Great Gatsby and Elysium offer convergent critiques of class-based societies and the destructive nature of idealized aspirations. Fitzgerald's novel explores the corruption of the American Dream through Gatsby's pursuit of a lost love, while Blomkamp's film presents a literal, futuristic dystopia where the dream of a better life is violently denied to the masses. Both narratives, through their tragic protagonists and starkly divided settings, demonstrate how deeply ingrained social inequalities can lead to the ruin of even the most determined individuals, leaving a lasting impression of dashed hopes and the cyclical nature of social injustice.