out of
Baz Luhrmann is an interesting filmmaker. Here, with Moulin Rouge, Luhrmann has created one of the most extraordinary and thrilling motion pictures in years. A throwback to the musicals of the past, an art form which has all but died out in film today, Moulin Rouge achieves a nearly perfect blend of magic and music into one two-hour spectacular spectacular. From the opening curtain-raising ceremony to the final piece of dialogue, Luhrmann draws us in and enchants us with a story of tragic love. Here is a story that Shakespeare himself might have written (and, indeed, it does seem to be inspired by his work) had he lived during the times of the Moulin Rouge.
Luhrmann is no stranger to Shakespeare either. His previous film was 1996's William Shakespeare's Romeo + Juliet, a box office hit that opened the doors of teenagers' minds to allow Shakespeare in. To me, it is one of the worst films ever made (when asked what is the worst film ever made, it is my general answer). To me, it didn't work. Something was wrong. Whatever that was, Luhrmann has corrected it. Moulin Rouge is spellbinding. There is no better word to describe it. With heart, soul, and energy, the film dazzles us with images never before seen, and utilizes special effects to benefit the story. I, for one, have never seen a film like it. And I doubt you have either.
Moulin Rouge opens with Christian (Ewan McGregor) mourning the loss of his one true love: the gorgeous Satine (Nicole Kidman). In keeping with Shakespeare's standard, the fate of the story is revealed in the opening minutes (believe me, this doesn't hinder the film one bit). The plot is standard-fare, with Christian and Satine falling in love while trying to avoid getting caught by her primary suitor (and Moulin Rouge financer), The Duke (Richard Roxburgh). If you've read Hamlet and Romeo and Juliet, imagine the two stories combined, and you might come up with this. Moulin Rouge is not about plot; it's about truth, beauty, freedom, and love.
Admittedly, I'm not a fan of the musical genre. In fact, there are only about three or four musicals that I actually like. So upon hearing Luhrmann's decision to create a musical, I could only imagine what he would do. I pictured his Romeo + Juliet sung, and I hoped for the worst. After leaving the theater (and recently, renting the DVD), I have to admit it: Luhrmann may very well be a genius. Moulin Rouge creates the perfect universe, just slightly off from our own, where people breaking into song seems normal. The camera dances around, soars into the sky, and comes rushing back down, keeping you pinned to the seat. The actors sing with their heart (yes, Kidman and McGregor sang all their own songs) and when that isn't enough, they dance into the skies. One of the most breathtaking moments involves Kidman and McGregor suddenly dancing in the clouds. It's a surreal moment but captures the emotion within the song.
The music itself is half the reason the film works as well as it does. Luhrmann chose not to use an original score, but utilize pop hits, varying from "Lady Marmalade" to "Roxanne" to "Like a Virgin." This decision works on so many levels you might just wonder why no one has done it before. Luhrmann and his music staff (too numerous to mention) don't just stop there--they create medleys, mixing songs together you would never imagine in the same thought, like the Satine-sung "Sparkling Diamonds," which contains about four different songs, including Madonna's "Material Girl." This works phenomenally well, and will have you rushing out to purchase the soundtrack. Nothing, however, prepared me for the awe and grace of the "Elephant Medley", the first moment when Satine realizes she is falling in love. Mixing U2 with The Beatles with Dolly Parton and various others, this one scene creates such emotion that you will find yourself reaching for tissues. As McGregor swoons Parton's "I Will Always Love You," the camera spins around, the background explodes into fireworks, and you literally feel euphoric. This kind of raw emotion is rare, and finally we have a film that doesn't cower back from true feelings.
My God, Nicole Kidman. How much can I write about her performance here? Here is an actress who has been waiting to burst into stardom, giving great performances in film after film. But here, with Satine, she creates one of the most tragic heroes in film history. Her singing voice is surprisingly affecting and her face spills out her emotions better than any word ever could. This is Kidman's finest performance to date, and she deserves an Oscar for it. In all of 2001, looking back at all the great performances by women, Kidman's sticks out above the rest. She shows a lack of fear, willing to take risks and making them pay off. Without taking away credit from the rest of the cast, Kidman makes this film her own. Ewan McGregor is an extremely talented actor, and armed with one of the best singing voices I've ever heard, creates a likeable hero who only wants what he can't have. The chemistry between McGregor and Kidman is palpable and heartfelt. When they sing to each other, you believe it. That's the best compliment you can give any actor, and both of them deserve it.
Sadly, the rest of the cast is placed in the shadow of its two stars. That's not to say they are any less deserving, though. Jim Broadbent makes for a humorous and intelligent Zidler, particularly in his version of "Like a Virgin." John Leguizamo is still annoying as always, but his performance fits the surroundings here. Special credit must go to Richard Roxburgh for creating a suitable villain. Roxburgh manages to remain human and doesn't go over-the-top to keep his villain grounded. We believe when he gets angry because he has a right to be angry. All in all, this is a well-chosen cast to handle this material.
Moulin Rouge is rated PG-13 for sexual content, most of which is sexual innuendoes and double entendres. Baz Luhrmann and his amazing crew have created a brilliant film that crosses genres and creates new ones. The choreography is stunning and the costumes are colorful. The images virtually dance off the screen, the true work of imagination. After a disastrous Shakespeare adaptation, Luhrmann has redeemed himself as a worthy filmmaker. In a year of mostly drab and unimaginative films, here is one that sparkles and shines like a diamond in the rough. This is hands down one of the great modern tragedies ever told, as well as being one of the best films of the year.
| Rating: out of
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© 2001 Boyd Petrie |