Fig 1
Moulin Rough
(2001) (Fig 1), directed by Baz Luhrmann is renowned for being perhaps one of the best
musical films to hit the film industry in years. It utilizes music from today’s
and previous culture in order to provoke something from the viewer be it hate
or love. It also does this by becoming a whirlpool of intense music, passionate
performances and surreal imagery, all the while attempting to pull you into a
strange, Burton-esque world of “Truth, Beauty and most of all… love”. This
movie is all about the epic performances, the brightly coloured, extravagant
visuals and the musical numbers that we’re all familiar with, but most of all, this
movie is a love story.
The film is based upon ‘La Boheme’, an
opera based upon the very same concept of love. Moulin Rouge’s story shows us
the tale of a young writer from England who has moved to Paris to live among
the people of the city during the new bohemian century. He stays next to the
center of Bohemia for inspiration, which just so happens to be Moulin Rouge, a
nightclub.
He meets up with a painter called Toulouse
LeTrec when he arrives who then convinces him to write songs and a script for a
performance, which, along with his ‘gang’ from Moulin Rouge, Toulouse is
attempting to green-light. However, Toulouse tells Christian that he has to
gain the approval from the center star for Moulin Rouge, Satine, before his
role can be validated. The following few scenes are a classic issue of
wrong-identity in which she mistakes him for the Duke, the main villain of
Moulin Rouge, whom she has to seduce in order to protect the nightclub from
going under. Eventually, both she and the writer fall in love (Fig 2). What follows
during the rest of the film are frantic attempts to cover up their love from
the Duke so that he continues to support the club.
Moulin Rouge’s visuals are stunning and it
trends towards a very surreal, stylistic approach.
“Providing a backdrop for the music are highly
imaginative sets - intense in detail and splendour, thanks to production
designer Catherine Martin - with exotic trappings, deep shadows and the richest
of possible colour schemes (with an emphasis on the titular rouge).” (<No
Author>, <No Date>)
The art style that this film has going for
it is almost Burton-like from its dreamy qualities and most definitely stands
out from most other movies of the same genre (Fig 3).
However, like many other musicals, this
film is on the same level in terms of extravagant, modern style, but the stigma
associated with most musical movies is also part of its downfall in some
people’s eyes, especially when you add music from today’s industry and the
songs of previous eras that are well known and timeless. Phillip French from
The Observer states his opinion on the matter.
"The
film strikes me though as having different origins. It's been called
'postmodernist' in the way it compacts numerous contrasting styles and
disparate strands, in the manner of a garbage machine crushing everything it
receives into a neat package.” (French, 2001)
Fig 3
French’s
opinion is one of many that has been affected by the way that Moulin Rouge
breaks tradition. The written rule saying that musical movies must adhere to
old standards is thankfully non-existent. Moulin Rouge takes these modern songs
and transforms them into spectacular spectacles laced with plenty of Opera,
ballads and orchestrated masterpieces. While doing this, it also merges the
line between which era in time it is supposed to represent with these different
music pieces. The cinematography in this movie also attempts to rip away from
old traditions from previous musicals, filling itself with CGI shots and rapid
zooms.
In
conclusion, however, this isn’t a perfect movie but it does its best during the
dramatic and climactic scenes. There is plenty of good humor for one to enjoy,
but the scenes where they are included drag on for just a little too long. This
film is one film that many either like to love or like to hate. For example,
those who swoon at the phrase “The greatest thing you'll ever learn, is just to
love and be loved in return!” or those roll their eyes and groan, but this
movie is definitely to be seen as a feast for the eyes and for the sheer scale
of the spectacle.
BIBLIOGRAPHY:
(No Author) http://www.film4.com/reviews/2001/moulin-rouge
(No Date) (Accessed 27/10/12)
(French,
Phillip) http://www.guardian.co.uk/film/2001/sep/09/philipfrench1 (No Date) (Accessed 27/10/12)
IMAGERY:
(Fig 1)(No Date)(No Author) http://www.filmtracks.com/titles/moulin_rouge.html (Accessed 27/10/12)
(Fig 2)(No Date)(Behnke, Mark) http://www.cafleurebon.com/histoires-de-parfums-1889-moulin-rouge-a-perfume-that-can-can/ (Accessed 27/10/12)
(Fig 3)(No Date)(No Author) http://www.thefancarpet.com/ActorGalleryPicture.aspx? mga_id=17773&a_id=283 (Accessed 27/10/12)
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