Country: USA & Australia
Runtime: 128 minutes
Original Release: 16th May 2001 (L.A., USA)
UK Release: 7th September 2001
First Seen: DVD, 2002
Nicole Kidman (Eyes Wide Shut, The Hours)
Ewan McGregor (Trainspotting, Star Wars – Episode III: Revenge of the Sith)
John Leguizamo (Super Mario Bros., Land of the Dead)
Jim Broadbent (Iris, Harry Potter and the Half-Blood Prince)
Richard Roxburgh (Mission: Impossible II, Van Helsing)
Paris, 1899: while pitching a show to the owner of the Moulin Rouge nightclub, writer Christian falls for the venue’s leading lady, Satine. Despite her mutual attraction, Satine has been promised to the Duke of Monroth in exchange for his investment in the cabaret. As preparations for the show continue, Christian and Satine’s love blossoms nonetheless. Will true love conquer commerce?
Christian is just a poor, miserable poet living among Bohemians in turn-of-the-century Paris, until he meets and falls in love with Satine, the Moulin Rouge’s star act and courtesan.
Unfortunately for Christian, Satine has been promised to the Duke of Monroth, a nasty piece of work who will have his way or have Christian killed.
Best Supporting Character
The Moulin Rouge’s exuberant owner, Harold Zidler, is prepared to essentially sell Satine for investment in his establishment. Which makes him sound like a horrible so-and-so, but actually he cares for her deeply.
“The greatest thing you’ll ever learn is just to love and be loved in return.” — Christian
Zidler convinces Satine that she must tell Christian she doesn’t love him, to save his life from the murderous intentions of the Duke. As she leaves the Moulin Rouge to break Christian’s heart, Zidler delivers an emotional rendition of Queen’s The Show Must Go On.
The film is packed with interesting reinterpretations of modern pop hits. Personally, I love a reimagined cover version, so picking just one is bloody tough. There are a couple of mash-ups that work particularly well: the big number when Christian & friends first arrive at the eponymous establishment, which crashes Lady Marmalade against Smells Like Teen Spirit; and the Elephant Love Medley, which wittily re-appropriates lyrics from a gaggle of love songs (eight, to be precise) into one number. However, the best of all may be a reimagining of the Police’s Roxanne as a dramatic dance number, El Tango de Roxanne.
One of the most controversial aspects of what is a love-it-or-hate-it film anyway is its editing style. Eschewing the familiar trappings of Hollywood musicals, Luhrmann has the entire film shot (by Donald M. McAlpine) and edited (by Jill Bilcock) as if it were a modern music video. In total, there are just shy of 3,600 shots in the film (according to this analysis), which gives it an Average Shot Length (ASL) of just 2 seconds. For comparison, the mean ASL for US films released the same year was around 5 seconds. Even now, over a decade later, the ASL for English-language films sits at about 2.5 seconds.
It’s now quite well known that musicals need to contain a brand-new song to be eligible for the Best Song Oscar. Obviously this is normally relevant to adaptations of stage musicals, but naturally it applies to Moulin Rouge, too. The film’s one new song is Come What May, but it was ruled ineligible for the Oscar because it was actually written for Luhrmann’s Romeo + Juliet, even though it wasn’t used in that film. The music arm of the Academy really are a tricky bunch.
Moulin Rouge is the third part of Baz Luhrmann’s thematically-linked Red Curtain Trilogy, following Strictly Ballroom and Romeo + Juliet.
Nominated for the Palme d’Or
2 Oscars (Art Direction-Set Decoration, Costume Design)
6 Oscar nominations (Picture, Actress (Nicole Kidman), Cinematography, Editing, Makeup, Sound)
3 BAFTAs (Supporting Actor (Jim Broadbent), Music, Sound)
9 BAFTA nominations (Film, Director, Original Screenplay, Cinematography, Production Design, Costume Design, Editing, Visual Effects, Make Up/Hair)
5 Australian Film Institute (AFI) awards (Cinematography, Editing, Sound, Costume Design, Production Design)
5 AFI nominations (Film, Director, Actor (Ewan McGregor), Actress (Nicole Kidman), Supporting Actor (Richard Roxburgh))
3 World Soundtrack Awards (including Most Creative Use of Existing Material on a Soundtrack)
2 World Soundtrack Awards nominations (including Best Original Score of the Year Not Released on an Album)
What the Critics Said
“The time, the effort and the sweat are all up there on the screen in this opulent, no-holds-barred and multilayered movie. [It] is wrapped up in such an audacious mix of traditional and contemporary song — including David Bowie, Elton John, Madonna and Nirvana — and staged with a near-insane visual ambition, you will either fall in love with every camp flourish, or find yourself exhausted after 20 minutes. It’s a singular achievement either way.” — Andrew Collins, Radio Times
What the Public Say
“one of the great movie spectacles of this generation, an undertaking of vast scope made all the more fascinating by how it transforms commonplace undercurrents into rich sensations […] There is a sense that these concepts are simplified for the sake of basic comprehension, but the picture doesn’t so much strip them of complexities as it penetrates to the core of their meaning. That creates a scenario where the story simply observes the indulgences that manifest in the rhythms, the music, the dance moves, the vocals, the dialogue, the facial expressions and the daydreams that inhabit the characters. It seeks no more profound a purpose. Some find the implication startlingly straightforward in an endeavor where the technical achievements are such a subversive triumph, but I applaud it; how frequently has any ambitious Hollywood production been willing to see past the varnish of a formula and deal directly with the ideals[?]” — David M. Keyes, Cinemaphile
These days there are plenty of musicals appearing on the big screen, and they’re often contending for the top gongs come awards season. This wasn’t the case back in 2001 — Moulin Rouge, divisive as it is, changed all that (it was the first musical nominated for the Best Picture Oscar in a decade, and the previous one was a Disney animation). Baz Luhrmann’s injection of modern MTV style gave the genre a kick up the arse, which isn’t necessarily to the taste of classic musical fans but certainly brought the genre renewed mainstream attention. Mixing in his theatrical storytelling, melodramatic emotions, and vibrant and extravagant costumes and sets, Luhrmann created a heady film designed to give modern audiences a sense of how visiting the Moulin Rouge would’ve felt in 1899 (well, it’s certainly not the literal experience!) It’s clearly not a film that meets all tastes, but if you’re on its wavelength then it’s magnificent.
#64 will be… a lot of fuss over very little.