in an entirely fictional production that uses pop hits of the 70s and 80s to
spin a musical tale. In keeping with the recent trend for historically
anarchonistic period pieces, Moulin Rouge trots down the same path explored
by the likes of Kenneth Branagh's "Love's Labour's Lost" and the woefully
inept "A Knight's Tale". Director Baz Luhrman has transformed his version of
1900 Paris into a hallucinogenic fairy tale. This is not in any sense the
traditional "City of Lights" or a factual representation of the Moulin Rouge.
It's a fantasy and because of this, the presence of songs like "Roxanne",
"The Sound of Music" and "Like a Virgin" do not seem out of place. In fact,
they work suprisingly well in this context.
The film's central character and narrator is Christian (Ewan McGregor), a
penniless writer who hooks up with a group of bohemians putting together a
play to be performed at the Moulin Rouge. The bohemians' leader is Toulouse
Lautrec (John Leguizamo) and he arranges a meeting for Christian with the
sultry courtesan Satine (Nicole Kidman) who will approve the new play and
star in it. They are immediately smitten with each other and complications
arise when the weathly Duke (Richard Roxburgh), whose investment in the play
will make Zidler (Jim Broadbent), the owner of the Moulin Rouge, a weathly
man is promised Satine. The integration of the love story works because of bombastic musical numbers and high energy produced by this cast. Hearing British
thespian Jim Broadbent croon "Like a Virgin" is worth the price of admission alone.
The biggest flaw with the film is the transistion between musical productions.
The narrative and plot drag the film from scene to scene. Without McGregor's
puppydog naive romanticism and Kidman's smoldering screen presence that lack
of forward motion in the screenplay would doom the film.
Moulin Rouge subjects the audience to a sensory overload with gaudy,
gloriously overproduced musical numbers that pay homage to the greats of the
past while simultaneously outdoing them. Splashed with garish colors, Moulin
Rouge is bright, brash, and wildly entertaining. It has modernized the
musical in a way that reminds people why the genre was so popular. The
production numbers are very high energy and it's impossible not to get sucked
in - and also impossible not to a feel a moment's letdown on each occasion
when one is over and it's time to get back to the paper-thin narrative.
Historical purists and those who enjoy only sedate films are likely to be
infuriated by the Moulin Rouge, but who cares? We live in an age of excess
and Moulin Rouge takes it to the hilt. It's a cross between the modern Music
Video and the classic Rock Operas of the 70s. There is no area where the
director holds back. With a widescreen picture, more edits than any film
since "Requium for a Dream", and a soundtrack that demands digital playback,
Moulin Rouge is the template for the modern Musical. I can heartily
recommend it for anyone who cherishes the thought of a modern day, comedic,
musical spectacle.
Rating: 3 stars (out of 4)