In the realm of American Literature, the name F. Scott Fitzgerald forever reigns eternal. Rising to prominence during the Roaring twenties, otherwise known as The Jazz Age, an era the writer himself coined, Fitzgerald is best remembered for his timeless masterpiece "The Great Gatsby". A novel the Irish Catholic conceived to breath a voice into the sheared and muted vocal chords of his generation -- immortalizing the traumatic, hysterical bliss of the post-WWI era -- an age in American History that would all but evaporate at the onset of the 1930's.

Praised by his contemporaries T.S. Eliot, Gertrude Stein, Ernest Hemingway, and Edith Wharton, Fitzgerald came from a bread of artists heralded as The Lost Generation, writers whose modernistic approach to literary craft broke from traditional victorian approaches to prose, and contained elements that caused many stories published during this timeframe to resemble autobiographies. Still perceived to be a miracle of talent not witnessed since Henry James, Fitzgerald continues to remain an inspiration to those brave enough to sit before a blank piece of paper, and pick up a pen in bold declaration that they have something to say. Richard Yates. J.D. Salinger. Joseph Heller.

The list goes on well into the present era concerning the list of authors who cite the Irish Catholic from the humble streets of St. Paul, Minnesota as their literary muse.

Yet, what is less well known, and perhaps even less recognized by scholars and some of his most avid readers is F. Scott Fitzgerald's short-lived tenure in Hollywood that occurred during the final stages of his life. Originally beginning in 1926 when United Artists contracted the author write a flapper comedy, marital problems with his wife Zelda courtesy of an affair Fitzgerald carried out with actress Lois Moran -- the inspiration for Rosemary Hoyt in his fourth novel "Tender is the Night" -- caused the couple to depart Los Angeles after a mere two months.

Nevertheless, with all his books out of print and in dire need of money after the crash of the stock market, Fitzgerald returned to Tinseltown in 1936 after accepting a lucrative contract by Metro-Goldwyn-Mayer. Mostly remembered for the high-profile dalliance he carried out with infamous gossip columnist Sheilah Graham, Fitzgerald's career as a screenwriter proved to be far from stellar than the one he possessed as a novelist. Receiving his only screen credit for "Three Comrades", the author's drafts for "Gone with the Wind", "Marie Antoinette", and an arm's length of films would remain unproduced.

To coincide with these struggles, Fitzgerald failed to establish a good rapport with his colleagues in the film industry. Fired from "Winter Carnival" after partaking in infamous drinking binge with co-writer Budd Schulberg -- an experience that would serve as the latter's inspiration for his novel "The Disenchanted" -- the novelist also clashed with prominent producer Joe Mankiewicz after Fitzgerald found himself displeased with the rewrite for his draft for "Three Comrades". Factors that contributed to MGM's decision to terminate the author's contract in 1939.

However, what has proven to be more outstanding about Fitzgerald's shortcomings in the land of red carpets and rolling cameras, is how these struggles seem to reflect in every attempt that has been made to adapt the writer's work for feature film and television. The most explicit example of this assertion has perhaps, been witnessed with "The Great Gatsby"With its most notable cinematic adaptions carried out in 1974 and 2013, both efforts failed to leave the profound impact on audiences and critics in the same way the novel was able to do. Directed by the much praised Jack Clayton, while starring the equally if not more prominent Mia Farrow and Robert Redford, with the screenplay authored by Francis Ford Coppola, all the star studded direction, acting and writing could not save the 1974 edition from becoming a cold and lifeless story on screen.

39 years later, Baz Luhrmann attempted an adaption of the novel that proved to be as ambitious as it was visionary. Once again attaching star power to his cast in the form of Leonardo DiCaprio and Carey Mulligan, the Australian director dazzled audiences with intoxicating visuals combined with music from contemporary artists including Fergie, Lana Del Rey and Kanye West -- mixing it in such away that it not only blended in with but resurrected the restless ecstasy of America in the 20's. Yet for all his musical talent and visual prowess, the rush job that was applied to the final act of the script caused the story that began with such promise, to disintegrate into yet another disappointment. A disappointment as tragic as the tragedy of the plot that played out on the movie screen. And originally in the book.

In the recent week, Amazon released the first season of "The Last Tycoon". A television adaption of F. Scott Fitzgerald's final novel "The Love of the Last Tycoon". Left unfinished due to the writer's untimely death four days before Christmas in 1940, the series starring Matt Bomer, Kelsey Grammer, and Lily Collins attempts to capture what might have been. With some of his finest lines and insights contained in the notes left behind and what little of the rough manuscript that was published, there is little doubt that "The Love of the Last Tycoon" may have been poised to be Fitzgerald's greatest work since "The Great Gatsby". "The Last Tycoon" however, is a different matter entirely.

Visually striking, adroitly acted, and packed with moments of clever, engaging dialogue, "The Last Tycoon" can certainly pass to average viewers as good television and adequate entertainment. Created and developed by Billy Ray who famously authored the scripts for "The Hunger Games" and "Captain Phillips", "The Last Tycoon" is a far cry from the two aforementioned achievements and possesses neither depth of storytelling or the character development that allowed such projects to be successful. Nor does it come close to eclipsing the insight demonstrated in the book on which it is based off.

Inheriting flaws from Jack Clayton and Baz Luhrmann's interpretation of "The Great Gatsby", Billy Ray's "Last Tycoon" at best, amounts to a bunch of sharp talking individuals dressed in suits neatly tailed as they are pressed, barely capable of masking a generic, and banal plot. Currently sitting on a 55% rating on Rotten Tomatoes, reception for "The Last Tycoon" has been mixed while its performance has been modest.

Nevertheless, unlike "The Great Gatsby" of 1974 and 2013, "The Last Tycoon" is a TV series, and will have a chance at redemption in the form of a new season. Its also worth pointing out that not all successful TV shows were an immediate runaway hit. Case in point, "True Blood" climbed from a 56% rating its first season to an 87% in season two. So there's hope for the latest attempt at Project: Successfully Adapt A Fitzgerald Novel.

At a certain point in his career, F. Scott Fitzgerald famously remarked: "Show me a hero, and I'll write you a tragedy." Passing away at 44, long before he was able to savor the fruit of his literary success, this statement forever stands as the story and fate of his life, and books he published. And Fitzgerald's cinematic career has proven to be no exception to such a rule the same way attempts to make a career out of translating the writer's work into cinema have. But as Fitzgerald once failed to understand Hollywood, perhaps its Hollywood's turn to show that they don't understand Fitzgerald.