The history of this Atlas goes back all the way to 1933 (eight years after the publication of The Great Gatsby), when it was designed by K.H. Schaefer for the German type foundry Schriftguß AG vorm. Brüder Butter as Fatima Versalien. In the same year, Fonderie Typographique Française published their version of Fatima Versalien under the name Atlas (and marketed it as a decorated complement to their simpler Art Deco sans-serif Apollo). Schriftguß later added a related oblique typeface, Ondina (Karl Kranke, 1935).
In 2001, Harold Lohner digitized the 6-line typeface, added a Solid style and made the fonts freely available. On the FontBros site, Lohner writes:
Atlas is based on a classic analog Art Deco font of the same name. My first version of it – the one with stripes – was originally named Farouk, but I’ve changed it to conform with period sources I have since found. I’ve also recreated the companion Solid font; both are completely redrawn with very clean edges.
Both the free and the optimized commercial version keep it true to the source and feature a very narrow ‘G’ and a rather wide ‘K’ and ‘M’. These glyphs – and maybe others – have been modified and normalized for this use, at least in some instances. Also has the number of lines been reduced to four.
The official website for the film uses Newport Classic SG as a webfont for navigation (though a web license doesn’t seem to be available), and the slightly clumsy Governor for the Monogram Creator interface. Governor also serves as the “GREAT” in the film logo, but it’s not so great. Perhaps the more refined Mostra Nuova would be better for both of these uses.