The year is 1899, and Christian, a young English writer, has come to Paris to follow the Bohemian revolution taking hold of the city's drug and prostitute infested underworld. And nowhere is the thrill of the underworld more alive than at the Moulin Rouge, a night club where the rich and poor men alike come to be entertained by the dancers, but things take a wicked turn for Christian as he starts a deadly love affair with the star courtesan of the club, Satine. But her affections are also coveted by the club's patron: the Duke. A dangerous love triangle ensues as Satine and Christian attempt to fight all odds to stay together but a force that not even love can conquer is taking its toll on Satine... Written by
Plot Synopsis:
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In the year 1900, a depressed writer named Christian begins writing on his typewriter ("Nature Boy"). One year earlier, Christian moved to the Montmartre district of Paris to become a writer among members of the area's Bohemian movement. He encounters performers led by Toulouse-Lautrec; his writing skills allow them to finish their proposed show, "Spectacular Spectacular", that they wish to sell to Harold Zidler, owner of the Moulin Rouge. The group arrives at the Moulin Rouge as Zidler and his "Diamond Dog Dancers" perform for the audience ("Lady Marmalade/Zidler's Rap (Can Can)/Smells Like Teen Spirit"). Toulouse arranges for Christian to see Satine, the star courtesan, in her private quarters to present the work, unaware that Zidler is promising Satine to the wealthy and unscrupulous Duke of Monroth, a potential investor in the cabaret ("Sparkling Diamonds" medley).Satine mistakes Christian for the Duke, and dances with him before retiring to her private chamber with him to discuss things privately ("Rhythm of the Night), but soon learns he is just a writer; by this time Christian has fallen in love with her ("Your Song"). The Duke interrupts them; Christian and Satine claim they were practicing lines for "Spectacular Spectacular". With Zidler's help, Toulouse and the rest of the troupe pitch the show to the Duke with an improvised plot about an evil maharajah attempting to woo an Indian courtesan who loves a poor sitar player ("The Pitch (Spectacular Spectacular)"). The Duke backs the show on the condition that only he may see Satine. Satine contemplates on Christian and her longing to leave the Moulin Rouge to become "a real actress" ("One Day I'll Fly Away"). Christian goes back to Satine to convince her that she loves him ("Elephant Love Medley"). As the cabaret is converted to a theater, Christian and Satine continue seeing each other under the pretense of rehearsing Satine's lines. The Duke becomes jealous and warns Zidler that he may stop financing the show; Zidler arranges for Satine to dine with the Duke that evening, but she falls ill from tuberculosis ("Górecki"). Zidler makes excuses to the Duke, claiming that Satine has gone to confession ("Like a Virgin"). Zidler learns that Satine does not have long to live. Satine tells Christian that their relationship endangers the show, but he counters by writing a secret love song to affirm their love ("Come What May").As the Duke watches Christian rehearsing with Satine, Nini, a jealous performer, points out that the play is a metaphor for Christian, Satine and the Duke. Enraged, the Duke demands the ending be changed so that the courtesan ends up with the maharajah; Satine offers to spend the night with the Duke to keep the original ending. At the Duke's quarters, Satine sees Christian on the streets below, and realizes she cannot go through with this ("El Tango de Roxanne: "Roxanne/Tanguera"). The Duke tries to rape her, but she is saved by Le Chocolat, one of the cabaret dancers, and reunited with Christian, who urges her to run away with him. The Duke tells Zidler he will have Christian killed if Satine is not his. Zidler reiterates this warning to Satine, but when she refuses to return, he finally informs her she is dying ("A Fool to Believe"). Satine tells Christian they can no longer see each other as she will be staying with the Duke ("The Show Must Go On"). Christian tries following her, but is denied entry to the Moulin Rouge, and becomes depressed, even though Toulouse insists that Satine loves him.The night of the show, Christian sneaks into the Moulin Rouge, intending to pay Satine to return his love just as the Duke paid for her ("Hindi Sad Diamonds"). He catches Satine before she steps on stage and demands she tell him she does not love him. Suddenly they find themselves in the spotlight; Zidler convinces the audience that Christian is the disguised sitar player. Christian denounces Satine and walks off the stage. From the rafters, Toulouse cries out, "The greatest thing you'll ever learn is just to love and be loved in return", spurring Satine to sing the song Christian wrote to express their love. Christian returns to the stage, joining her in the song. The Duke's bodyguard tries to kill Christian, but is thwarted, while the Duke's own attempt is stopped by Zidler. The Duke storms out of the cabaret as Christian and Satine complete their song ("Come What May (Reprise)", "Coup d'État (Finale)").After the curtain closes, Satine succumbs to tuberculosis. She and Christian affirm their love before she dies. A year later the Moulin Rouge has closed down, and Christian is writing the tale of his love for Satine, a "love that will live forever" ("Nature Boy (Reprise)").
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(emandal_maggs@yahoo.com) from Seattle, WA
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I have seen Moulin Rouge at least 25 times. I think it is the most extraordinary movie of my generation and breaks every limit set by the industry. I have heard all the traditional complaints...people didn't like the music, the editing was too swift, or it wasn't "their taste". Moulin Rouge took a risk. A risk films like A Beautiful Mind and Shakespeare in Love don't. It risked by being controversial. To make a likeable movie isn't hard, follow the Hollywood mold and stick in a few attractive actors, some bland dialogue and viola you have a film. Moulin Rouge was made knowing that not everyone would like it, but knowing everyone would at least appreciate it for its artistic ingenuity. Visually it is superb, an indulgent feast for the eyes with every breathtaking, artistic scene. Everything about it is over the top, every scene more stunning than the next, and as it continues your heart becomes more and more intertwined in the love story. The editing in the Roxanne scene rushes through your body and is the most incredible of any movie in history. Nicole Kidman and Ewan McGreggor are the most passionate on-screen couple; entirely convincing as their voices meld them together into one. Never has a movie done what Moulin Rouge did. It realized that the world of film is only being represented in one small way, whereas Moulin Rouge uses a camera and screen to make something bigger and more extraordinary than has ever been made before. It pushes against the confines of convention and leaves you breathless.
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Gouda-3
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At the risk of sounding overly bombastic, "Moulin Rouge" is the best film I've seen all year, perhaps the best one I've seen in over a year. It is operatic in the best sense of the word, being at once massively outlandish and deeply personal. It is clear that a lot of people took career risks in choosing this film, and although "Moulin Rouge" may not rack up a huge box office, I think this film will become a classic alongside his other two films "Strictly Ballroom" and "Romeo + Juliet."
In the showing of "Moulin Rouge" I saw last week, at least 5 people walked out. At the same time I heard audience members audibly gasping at the films visuals and talking back to the screen. The source of these strong reactions? Baz Luhrmann's confidence in his garish cinematic vision and the commitment his actors have in him. The cast fills their roles with relish, even when the entire scene totters on the edge of overkill--but oddly enough, it is the focus that sets "Moulin Rouge" apart from other films these days. Whereas some actors sleepwalk through their roles as they collect their paychecks, everything about "Moulin Rouge" is done in earnest.
This movie is the anti-"Pearl Harbor," because instead of being a hodgepodge of market-tested ideas, "Moulin Rouge" presents a bold vision and dares the audience to accept or reject it. I, for one, accepted it with delight. A telling comparison: Luhrmann has Nicole Kidman and Ewen MacGregor sing the film's love song. Very daring. For "Pearl Harbor" Michael Bay chose Faith Hill. Very safe. Too safe. Can you imagine Ben Afleck belting out "There You'll Be"?
"Moulin Rouge" glitters with such bold decisions. It is a sumptuous feast for ear and eye featuring gorgeous costumes, intricate sets (Nicole Kidman's boudoir in a gigantic elephant is a case in point), and outlandishly choreographed dance numbers are paraded with frenetic relish. And the music, the MUSIC! As you probably know by now, Luhrmann has thrown into his period piece a collage of musical snippets from, among many bits, "The Sound of Music," Madonna, The Police, and Elton John. In most cases, no one song gets performed without intersplicing. Witness Luhrmann's audacity: the opening number includes a melding of Labelle's "Lady Marmalade" with Nirvana's "Smells Like Teen Spirit." And here's the spooky part: it works.
The entire movie plays this way, and for the most part it works. Most surpising is that "Moulin Rouge" has a solid, deeply sincere emotional core. Although the film professes to be about love, I'd add that it is equally about loss. The Moulin Rouge is a playground where adults pretend they are children with the added spice of sensuality.
All the performances are excellent, but the hidden gem is Jim Broadbent as Zidler. Broadbent for years has been doing majestically understated supporting work, from "Brazil" to "Enchanted April" to "Topsy-Turvy." In "Moulin Rouge" he manages to be both repulsive and endearing. His spirited rendition of "Like a Virgin" is classic. Too bad it's not on the soundtrack.
Expect to be overwhelmed by "Moulin Rouge" in the most unexpected, delightful ways. It will make you wonder why other films can't or won't dare to be that bold.
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Rob from New York, NY
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I have not ever felt for a movie the way I do about "Moulin Rouge." It is not just a movie...it is a cinematic experience the likes of which I have never before seen. The story, the music, the acting, the visual imagery strikes emotion in me I never before thought possible from a film. It is without a doubt the most brilliant piece of cinematic art I have ever seen. It is dizzy, maddening, beautiful, and heartbreaking! The music is rapturous, and Ewan McGregor and Nicole Kidman's voices compliment each other and the story perfectly. This movie takes its story to a mythic level and surrounds these two star-crossed lovers with music and imagery that simply will take your breath away. The story is grand, huge, and operatic, as is the music. The brilliant score skillfully weaves many modern, popular songs, and rescores them as the libretto to this grand opera. There are some images in this film unlike anything you have ever seen. And the performances are absolutely incredible, particularly Nicole Kidman's. I truly felt for these two people, and truly felt that they were in love. My heart broke into a million pieces for them every time I saw this movie, and I've seen it 8 times. It's an absolutely breathtaking, visionary, masterpiece that did not get the credit it deserved by American critics, who seem to complain that every movie is the same. Yet when an original, daring, shocking film like this comes along, they don't know what to do with it. But then again, this really is not just a film. No mere film could strike me the way this one has, in a way that reaches to the very fibres of my being in a way only "The Wizard of Oz" ever has before. Yes, the story is sad, but what a journey it takes you on! A journey I will be sure to repeat over and over and over again.
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Blake French (baffilmcritic@cs.com) from USA
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MOULIN ROUGE! / (2001) **** (out of four)
By Blake French:
"Moulin Rouge!" revives our imagination and relives the musical era of Hollywood. The film is like an extravagant, expensive Broadway production on screen, with enough open courage, engrossing passion, and zesty energy for several motion pictures. It's one of the year's best films; "Moulin Rouge!" may be a cliche-ridden love triangle, but Baz Luhrmann, the film's director, shines a fresh, stunning originality on a familiar plot. He creates a candid, exuberant style for his characters-a mixture between a fast-paced music video and lush, exotic images. He uses a vast variety of camera placements and shooting angles. In several of the songs, he cuts on nearly every word. This does indeed make us dizzy, but it is the perfect approach to the material.
From the opening moments, "Moulin Rouge!" plays full force, overpowering our senses. The film doesn't even wait for its opening credits to begin. The usual 20th Century Fox logo appears on the screen within a screen as a little bald musician rises from the bottom, and continues to frantically conduct the traditional Fox fanfare. From this, we cut to "The Sound of Music," where young writer morns over the loss of his true love. The film includes an interesting use of the bookend structure, and I like how it reveals the information about the main character's deadly disease early. This is the kind of movie that does not need to astonish us with sudden plot twists or unexpected character revelations. The joy of watching "Moulin Rouge!" is in the visual stimulation; the plot is more interested in its own character's discoveries than playing mind games with the audience.
Ewan McGregor and Nicole Kidman prove that they can really sing. Most of the time, celebrity singers turn to the silver screen with a lot of star power but little acting ability. Look at LL Cool J, Ice Cube, Jennifer Lopez, and I just know Brittany Spears is going to turn up in a movie one of these days. "Moulin Rouge" may be one of the first movies to open musical doors for its leading performers. Even Jim Broadbent proves to be well cast in a crazy, intensified character that he really sinks his teeth into. I will never look at any of these stars in the same light again, even, to my great reluctance, John Leguizamo.
The film takes place in the early 19th century, as Christian (McGregor) enters Paris hoping to write love stories. Several peculiar figures live above him, including the French artist Toulouse-Lautrec (Leguizamo) and his Bohemian troupe attempting to construct a play. After a freak accident, Christian is suddenly thrust into the middle of their play. The crew hires him as the star writer. He then takes a visit to the flirtatious Moulin Rouge night club, ran by the robust Harold Zinder (Jim Broadbent). It is here where he tries to persuade the club's popular, sexy lead performer and courtesan, Satine (Kidman), to work in their production.
After mistaking Christian for a rich and powerful aristocrat, The Duke (Richard Roxburgh), Satine falls in love with Christian, much to the dismay of many. However, she believes herself to be a simple prostitute, who should never fall in love because it will get in the way of success. When the Duke agrees to produce a major production at the Moulin Rogue, but only under his circumstances, things become even more complicated. The Duke demands that Satine becomes his personal property if Harold and the others want his financial support.
Obviously, the best thing in "Moulin Rouge!" is the music. Apart from the cast, the film's big list of musical artists includes David Bowe, Christina Aguilera, Mya, Pink, Fatboy Slim, Beck, and many others. The kind of music that plays here does not account for a period epic at all, however. "Moulin Rouge!" doesn't try to be a historic depiction, but instead an expression of fantasy and passion. The elegant sets, eventful style, and powerful choreography scream modern day, post-pop-culture. I ran out to purchase the motion picture soundtrack. You should, too. But listening to the soundtrack on your CD player at home is nothing like experiencing the memorable singing and dancing, sexual energy, and relentless enthusiasm on the big screen.
As I say in very few film critiques, some movies are you watch, others you experience. "Moulin Rouge" is an experience not to be missed. It is a bizarre, unique blend of exhaustive energy and lively action-one of the bravest, most ambitious and entertaining movies of the year.
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kay321 from San Francisco, CA
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This was easily one of the best movies I've seen in years. Rarely do movies have a visual force capable of stunning you into rapt silence; and even more rare are films able to further this with a soundtrack that can move you and ensnare you as well, if not better, than the images. Yet some how, through genius, magic, luck, or some combination, Moulin Rouge has managed to do both. In truth Moulin Rouge is a fusion of two fabulous films into one. A film of images capable of conveying meaning without dialog or music, and a film which you could feel and understand with out needing to see it. Much effort was obviously spent on both the visual and audio aspects of this film, and by choosing not to focus on one over the other, and sacrifice the songs for the story or vice versa, the filmmakers were able to make a truly unique, modern musical which those of us who have hated musical since childhood could enjoy. Moulin Rouge is a blend of old, established techniques with innovative experimental ones, resulting in a movie which could only have been made in our time, yet which has a classic feel. The acting is wonderful, the mixture of modern songs is ingenious, and the cinematography is at times simply amazing. The end result is a stunning film with unbelievable performances; a cinematic experience that people will be loving, analyzing and trying to imitate for year.
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honeypot from Southampton, England
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This movie blew my mind. Watch it, then watch it again. 'Moulin Rouge' made me laugh, cry, and dream. It's boldness and confidence to produce something so original and different impressed me. At times the scenery was as surreal as something you would experience in a dream, which only makes this movie more amazing. 'Moulin Rouge' shows love from all angles. It includes the raw passion, infatuation, vehemence, intensity, ecstasy, jealousy, and pain that is found in true love. The acting was staggering. Ewan McGregor is unrealistically perfect, combining sweet innocence with masculinity. Kidman perfectly brings out the seductive side of Satine, yet never loses the vulnerable soul that lies behind it. Roxburgh(The Duke) and Leguizamo(Lautrec) bring out just the right amount of comic relief in this intense drama. There is nothing I would change about this movie. One warning, though: Moulin Rouge is not for the artistically deprived. It is quite a contemporary movie, so you may not like it if you prefer to watch simple movies(ex. 'American Pie', 'Scary Movie').
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skyler58 from Boston, MA
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I have now seen Moulin Rouge more times than I should say and I have noticed something new and unique every time. This film is so intricate (and beautiful) that you cannot possibly absorb it all in one viewing. Luhrman (along with his Bazmark production team) really is a visionary and his films push the limits in such amazing ways. The music, the sets, the choreography - all of it is awe-inspiring. Ewan McGregor proves his versatility as an actor yet again by bringing such a heartfelt innocence to Christian - and the man can sing! Nicole Kidman went from being just another actress to me to one of my favorites - she takes on the role of Satine so honestly and proves that she not only has a comedic side but a great voice as well. Together the two of them light up the screen. In a year of mostly mediocre films (with a few notable exceptions) Moulin Rouge is totally refreshing. It not only promotes truth, beauty, freedom, and love but is a perfect example of them as well. Luhrman himself said that it was time for a new kind of storytelling and he was right! Open your mind and enjoy one of the most original movie experiences in years. A bohemian storm is brewing!
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ptmcq05 from United States
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I wonder if that line from the Duke "I don't care about your ridiculous dogma" was directed to Lars Von Triar. It could be, the film is full of knowing lines "He could make you a star and you're dallying with the writer!" or "They dressed me with the Argentinean's best clothes and passed me for a famous English writer" There is something of Ken Russell's second period in "Moulin Rouge" Everything is emphasized, underlined and repeated at least three times for safety. Excess seem a rather feeble term to describe it and yet, it works. The film, for the most part, is a delight. Nicole Kidman, ravishing and spectacular, spectacular. Ewan McGregor, superb, and so charismatic that no one would blame me if I confess I had a had crush on him as soon as he broke into "The Hills are alive with the sound of music..." Kidman and McGregor, this film proves it, are the closest thing we've had in years to the big stars of yesteryear. They could make anything shine and they have. Another detail that shouldn't go amiss, "Moulin Rouge" opened the door again for musicals and that's always a good thing even if we're bound to be bombarded by some terrible stuff. I say it doesn't matter as long as it allows glorious film talents of the caliber of Kidman and McGregor to give us the pleasures they have even in a bag of wind such as "Moulin Rouge"
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jhclues from Salem, Oregon
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This is a story about life. And about the artists who congregated in Paris in 1900, living a bohemian lifestyle and giving the world the fruits of their labor, of their art, for which they would gladly bleed and die. But mostly this is a story about love. Of a young man named Christian, a penniless writer, and a singer named Satine, who for a moment came together and tasted the nectar of the gods. `Moulin Rouge,' written and directed by Baz Luhrmann, takes you into a world that is bright and brilliant, fast and flashy and filled with all of the things that make life worth living. It's a fantasy world of song and color, of soaring hearts and aspirations-- but also of the reality upon which the illusion of it all is built. And the effects of that reality on Christian and Satine, whose love has been forbidden by that same reality they seek to dispel by impaling it with the artistic endeavors that give them life.
If Disney had commissioned a film to be written by Shakespeare, directed by Fellini and produced by Spielberg, this would be it. It's a dizzying, whirling burst of lights, colors, music, drama and comedy that assails the senses and will hold you spellbound from beginning to end. Like the bohemians he portrays, Luhrmann leaves convention behind and dips instead into his own inspired and highly imaginative formula to tell his story. The cinematography (by Donald McAlpine) and art direction (by Ann-Marie Beauchamp and Ian Gracie) are brilliant, as well as the production design (by Catherine Martin) and the sets (by Brigitte Broch). One of the many inspired touches Luhrmann employs here, is the use of different film speeds throughout, which, when combined with the superlative, quick-cut editing (by Jill Bilcock), makes it all transporting and surreal.
Ewan McGregor turns is a terrific performance as Christian, the young man who arrives in Paris with nothing more than spirit and a head filled with ideas and ideals. When artistic differences leaves Zidler (Jim Broadbent), proprietor of the Moulin Rouge, without a writer for a new show, `Spectacular, Spectacular,' Christian steps in. And so does McGregor, who shines in the part. And the boy can sing! He may not have the greatest voice in the world, but it's a good `stage voice,' and most importantly, he can sell a song, as evidenced by the scene in which he puts across Elton John's `Your Song.' McGregor has a charismatic screen presence, and in this role he really gets a chance to demonstrate his versatility as an actor.
As Satine, Nicole Kidman is saucy and sensuous, bringing her character vividly to life, this woman who makes her living by being every man's fantasy as she sings and sashays her way through this world of the Moulin Rouge. In her heart, she longs to be a serious actress, and if this new show is a success, she just may get her chance. But first, the show needs someone to finance the lavish production. They may have one-- the Duke of Worcester (Richard Roxburgh), has expressed interest, but he has one condition. If he pays for the show he wants something in return (besides a profit on his investment). He wants Satine. But so does Christian, who has nothing to offer the show but his talent, and nothing for Satine but his love. Zidler, meanwhile, aware of the Duke's demands, urges Satine to turn her back on Christian, to `save him.' And beyond and besides all that is happening, there is something else going on with Satine, something more personal, that ultimately will have an effect on the outcome of the dilemma for all concerned.
The supporting cast includes John Leguizamo (Toulouse Lautrec), Kylie Minogue (The Green Fairy), Garry McDonald (Doctor), Jacek Koman (The Narcoleptic Argentinean), Matthew Whittet (Satie), Kerry Walker (Marie) and Laszlo Lukas (Conductor). With an eye for detail and his imagination thrust into overdrive, Luhrmann has put together and delivered one of the brightest films to come along in quite awhile. `Moulin Rouge' is an explosion of sights and sounds, a film laced with humor and visual largess that holds a poignant and dramatic story at it's heart. Entertaining and thoroughly enjoyable, this is a memorable film and a satisfying movie-going experience. It's a story about love; a story told through the magic of the movies. I rate this one 9/10.
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Righty-Sock (robertfrangie@hotmail.com) from Mexico
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Luhrmann's flamboyant musical 'Moulin Rouge' is a combination of Camille, La Boheme and Showgirls... The film swings easily between present and past, among so many wildly different moods: farce, tragedy, romance, satire, comedy and rock and roll...
'Moulin Rouge' is an assault on the senses, a non stop visual explosion, an exotic trip, and a love story that is sure to touch your heart... It is a gloriously cinematic spectacle with opulent imagery directed with an eye for rich color, especially the color of rouge... It is also a breathtaking and poignant piece of cinema, a disco of dreams, a crazy and daring show, a vibrant screen fantasy, a "Bohemian Revolution," a magical movie for those who love romance, pop music and old musical movies...
Nicole Kidman gives the film its soul... She is the "sparkling diamond" of the show, the toast of Paris, the city's top courtesan... She melts her characterization with a sizzling, yet tender, performance... She is undeniably sexy, a beautiful singer, a flashy dancer whose heart sings whenever she sees Christian... In many ways, she is drawn as the ultimate sex goddess, as enigmatic as Greta Garbo, and her glamor masks her pain as well as her happiness... Kidman gives the film its central erotic charge, and its romantic thrills... She sways on a flying trapeze belting out Marilyn Monroe's "Diamonds Are a Girl's Best Friend," and Madonna's "Material Girl."
Ewan McGregor achieves a nice mix of optimism and desperation, emphasizing the sincerity of the love-struck poet-hero... Christian is a young idealist who moves to the bohemian section of Paris during the 'summer of love' of 1899... He is hired to write a show about 'truth, beauty, freedom and, most of all, love.' Christian battles for the body and soul of the ravishing Satine... His fundamental believe is 'the greatest thing you'll ever learn is just to love and to be loved in return…
John Leguizamo is vulnerable and sweet as Henri de Toulouse Lautrec needing a good writer to come up with story and lyrics for his new show called "Spectacular Spectacular."
Jim Broadbent is wonderfully comic as the ringmaster Harold Zidler... He is a jovial impresario who peddles the charms of a successful Satine to a mesmerized public... He is the owner of the infamous nightclub who has promised Satine to the evil Duke of Monroth... He has his eye on her too...
Richard Roxburgh is odious as the jealous benefactor obsessed with Satine to the point of murder... He is stunningly arrogant wanting the gorgeous can-can chanteuse in an "exclusive contract."
Luhrmann combines 1900 Can Can burlesque with modern musical poetry, exploiting Kidman's grace and beauty and overwhelming the audience with frenetic dance numbers delivered in operatic-style... Like Orson Welles, Luhrmann loves the technical magic of movies... When a red curtain opens, an orchestra conductor emerges to direct the unmistakable '20th Century Fox' theme opening, we immediately realize we're in for something really magical: A spectacular costume revue, an eye-catching fin de siecle exuberance, an inspiring rebirth of the movie musical...
The necklace worn by Nicole Kidman was made of real diamonds and platinum and was the most expensive piece of jewelery ever specifically made for a film. The Stefano Canturi necklace was made with 1,308 diamonds, weighing a total of 134 carats and was worth an estimated US $1 million.
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In original drafts of the script, Satine had a three-year-old child and the story was told in flashbacks, told by Christian to the child.
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Filming was halted for two weeks in November 1999 after Nicole Kidman fractured two ribs and injured her knee while rehearsing a dance routine for the film. Many of the scenes where she is seen only from the chest up, including "A real actress!", were shot while she was in a wheelchair.
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Originally, the green fairy was going to be a long-haired muscle man with a giant sitar and Ozzy Osbourne was hired to provide the vocals. Eventually it was changed to the current "Tinker Bell" incarnation, played by Kylie Minogue, but Osbourne still gives voice to the fairy's guttural scream when it turns evil.
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In the "Like a Virgin" number, Jim Broadbent's voice is dubbed by an opera singer, mimicking Broadbent's own vocal performance. The floor was rubbed in with Coca Cola so the dancers wouldn't slip. This segment, Richard Roxburgh's favorite experience from the production, took a week to film.
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Various tricks were used to make John Leguizamo's (Henri Marie Raymond de Toulouse-Lautrec-Monfa) legs appear shorter. Some shots are of his stand-in who was of the correct height, while in others he walked on his knees in special leg braces and wearing blue socks so that his lower legs could be digitally removed. Leguizamo did the entire climactic scene from a squatting position to give him greater mobility in his role. Consequently he had to endure several weeks of physical therapy afterwards.
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"Come What May" was written by David Baerwald for Romeo + Juliet (1996) but not used. In Moulin Rouge! (2001), it is newly written for the stage show by Christian. It is the only completely original song in the entire film. However, because it was written for another film, it was disqualified for the Oscars' Best Song award.
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Nicole Kidman actually wears a wig throughout the movie.
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During Satine's trapeze entrance, blue light was used due to Nicole Kidman's pale skin tone, the director found that the blue light made her almost "glow" and therefore stood out during the scene.
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Both Nicole Kidman and Ewan McGregor wore harnesses for the scenes on the elephant as they were standing 60ft off the ground.
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The movie's plot is an amalgam three operas/operettas. A young writer with Bohemian friends, falling in love with a terminally ill girl, is from Great Performances: La boheme (1994) based on Henri Murger's novel "La Vie de la Boheme". A courtesan learning that love can also be true and idealistic, comes from La traviata (1968) based on Alexandre Dumas fils' novel Camille (1936), which also involves terminal illness. Finally, the plot line of the writer who travels to the "under-world" of the Moulin Rouge to find his love and tries to take her back to the "upper-world" comes from Jacques Offenbach's "Orpheus in the Underworld" based on Greek mythology--a movement from this opera's overture becomes the "pitch" song for Spectacular Spectacular.
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The film is dedicated to Baz Luhrmann's father, Leonard Luhrmann, who died just as filming was about to begin.
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Chosen as the opening film at the 2001 Cannes Film Festival.
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The wardrobe department created three hundred costumes and, at one point, eighty people were employed for this task.
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For much of the film, Audrey (David Wenham) is wearing a long, colorful scarf very reminiscent of the trademark scarf worn by Tom Baker on Doctor Who (1963). The scarf Baker wore was inspired by a long red scarf worn in the painting "Ambassadeurs: Aristide Bruant dans son cabaret" by famous bohemian Henri de Toulouse-Lautrec, who is a character in this movie.
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An enormous elephant statue in the garden, bought from a theme park, housed an Arabic nightclub and an opium den.
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This movie was launched in Australia to an audience of just 250 people in a small country town called Taree, 200 miles north of Sydney. Baz Luhrmann grew up just outside of Taree where his family owned a gas service-station. The 250 tickets were sold at a local pharmacy.
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Several images (i.e. clowns, men in tuxedos with tutus) are taken from Toulouse-Lautrec's paintings of the Moulin Rouge and nearby clubs.
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The Paris landscape was digitally produced and the two longest visual effects shots to date that appear in this film.
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Cat Stevens would not license his song "Father and Son", which was the first musical number in the original script, because of his current religious beliefs. He objected to the sexual content in the film. The scene featuring "Father and Son" was to have been between Christian and his father in his father's office, with all his father's employees joining in for the chorus. This was to be the segue into his leaving home for Paris. The scene is included in the complete script on the Special Edition DVD.
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The stage for "Spectacular Spectacular" was especially reinforced to hold the weight of a galloping horse for a scene where the evil Maharaja rides across the stage. The scene was abandoned but the white horse still appears fleetingly in one shot.
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Catherine Zeta-Jones and Heath Ledger were contenders to play Satine and Christian. Other possible Christians included Hugh Jackman, Jake Gyllenhaal and Ronan Keating. Other possible Satines included Renè e Zellweger, Natalie Mendoza, Sharleen Spiteri, and Sophie Ellis-Bextor. Tim Wheeler, of the rock band Ash, auditioned for the lead role of Christian, which led him to write the track "Orpheus". Courtney Love auditioned for Satine, and allowed Baz Luhrmann to use Nirvana's "Smells Like Teen Spirit" in the opening sequence, a rare case of allowing her late husband Kurt Cobain's work to be used in film or TV.
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The Elephant medley contains parts of several famous and not-so-famous love songs. These include "All You Need is Love" by The Beatles, "I was Made for Loving You" by KISS, "In the Name of Love" by U2, "Don't Leave Me This Way" by Thelma Houston, "Silly Love Songs" by Paul McCartney, "Up Where We Belong" by Joe Cocker and Jennifer Warnes, "Heroes" by David Bowie, and "I Will Always Love You" by Dolly Parton.
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The song "Diamonds Are a Girl's Best Friend" mentions four jewelers - Tiffany, Cartier, Black Starr & Frost - Gorham and Harry Winston. Winston was not in business when the movie was set, and Black Starr & Frost had not yet merged with Gorham. Both names were removed from Satine's performance of the song. Harry Winston was replaced with Jim Broadbent's character Harold (Harry) Zidler. This historical person's real name was Charles Zidler, which the writers changed for this song.
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The "placeholder" name of the Duke of Monroth (Richard Roxburgh) during the writing of the script was Count Von Groovy.
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The word "love" and its variations (loved, loves, loving, lover and lovers) appears in this film 143 times.
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The majority of the Can Can dancers at the Moulin Rouge have a specifically designed 'persona', most of them based on different male fetishes. The full list of names of the Can Can dancers and their 'persona' is as follows: Antoinette - Based on the famous French Queen, Marie-Antoinette. Arabia - Based on Arabian courtesan garb. Babydoll - Dressed in Infant Clothing (Often mistook for Bo Peep) Chinadoll - Dressed in Chinese silks. Dominatrix - Self explanatory. French Maid - Self explanatory. Garden Girl - A hippie/bohemian/earthy seeming girl. Gypsy - Self explanatory. Harlequin - Based on a court jester's diamond patterned costume. Historic - Based on the Statue of Liberty. Juno - Dressed as an Angel. Liberty - Dressed in 'Napoleonic' garb. Mome Fromage - Dressed in candy/cake/confectionery type colors and fabrics. Nini Legs-In-The-Air - Costume decorated with windmills, as the character is said to have the best legs in the Moulin Rouge and is always showing them off, waving her legs around, likening her legs to a windmill. Dances in the center. Pearly Queen - Decorated in sophisticated clothing; pearls, furs, jewels. Petite Princess - A dwarf woman in a princess costume. Polka Dot- a spirit of winter with evergreen trees drawn on her dress. Schoolgirl - Self explanatory (strongly resembles Gigi (1958) or Madeline (1952)). Spanish - Dressed in a flowing, veiled Spanish costume. Tarot - Costume is decorated with various imagery from tarot cards. Tartan - Costume is a full traditional Scottish Garb, with the skirt designed to look like a kilt. Tattoo - Dancer is covered entirely from the neck down in tattoos. Travesty - Cross-dresser, upper half is of an upper-class man; top hat, tuxedo, and bow tie. Dances with Nini. Urchin - Dressed as a poor street girl (strongly resembles Eponine from Great Performances: Les Miserables in Concert (1995)); bowler hat, patchwork costume.
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Courtney Love has gone on record calling losing the role of Satine to Nicole Kidman one of the biggest disappoints of her career and made no secret of her resentment against Kidman. Director Baz Luhrmann characterized the difference between the two actresses in a Vanity Fair article by saying "Courtney is fire and Nicole is ice." This prompted Love to remark that Kidman was "a puddle" and dedicate the song "Miss World" (a song about a self-loathing beauty queen) to Kidman on her 1999 tour with her band Hole.
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In the scene where all the gentlemen throw their hats up in the air, all the hats were suspended on fishing wire.
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Moulin Rouge! (2001) became the first movie musical, in ten years, to be nominated for the Academy Award for Best Motion Picture of the Year since Disney's Beauty and the Beast (1991). It was also snubbed for Best Director (Baz Luhrmann) and Best Original Screenplay, which has been cited as one of the most outrageous, infamous, and unforgivable Oscar snubs for the 74th Academy Awards.
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According to an interview with Craig Pearce on the DVD extras, an early draft of the script had the Count seducing both Satine and Christian and then hooking them on morphine.
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Nicole Kidman had to be replaced in the film Panic Room (2002) because of injuries she suffered while filming this film.
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Jim Broadbent took two-and-a-half hours every day to be fitted into his fat suit.
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The production was over-running in its shooting schedule and had to be out of the Fox Studios in Sydney to make way for Star Wars: Episode II - Attack of the Clones (2002) - which also featured Ewan McGregor. This necessitated some pick-up shots being filmed in Madrid.
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Moulin Rouge (Red Mill) dancers really wore split knickers under their dresses, a technical point that the film-makers chose not to follow in order to obtain a PG-13 rating.
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Kylie Minogue recorded other songs for use, including "Physical"(originally recorded by Olivia Newton-John) and "I Feel Love" (originally recorded by Donna Summer)
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Kate Winslet and Hilary Swank were considered for the role of Satine.
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The movie was shot largely at Fox Studios in Sydney, Australia, with no location filming at all.
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The song "My Way", made popular by Frank Sinatra, was considered to be performed by The Duke for the film, but this never developed. However, The Duke still repeatedly yells, "My way!" during the finale.
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The hand painted scrolls used in the credits were painted in irregular aspect ratio in order to be filmed correctly.
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During the performance of "Diamonds Are a Girl's Best Friend", the chorus of "Material Girl" is sung. In the original music video for "Material Girl", Madonna re-enacted Marilyn Monroe's performance of "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953).
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Frenchman Henri de Toulousse-Lautrec is played by Hispanic (Colombian) actor John Leguizamo. In the 1952 film Moulin Rouge (1952), he was played by another Hispanic actor, Puerto Rican born Josè Ferrer. Cast member David Wenham shares the role of another Frenchman with Ferrer: Cyrano de Bergerac.
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Zidler appears to be a stand-in for Charles Zidler, the first manager of the real Moulin Rouge who died in 1897.
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Rowan Atkinson and Alan Cumming were considered for the part of Toulouse-Lautrec. John Leguizamo was originally considered for the role of The Argentinean.
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A scene establishing the "Gothic Tower" as a bordello was cut. It involved dancers in S&M gear performing Grace Jones' "Slave to the Rhythm", "Warm Leatherette", and "Pull Up to the Bumper".
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The blood that Satine (Nicole Kidman) coughs up is really a mixture of red food coloring, corn syrup and water.
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100 to 150 people at any one time assisted in the construction of the set to the Moulin Rouge.
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Stereophonics' lead singer Kelly Jones says he was approached about playing a part in the movie but turned it down.
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Both John Leguizamo and Ewan McGregor have starred in "ER" (1994). John starred as Victor Clemente in Season 12 and Ewan starred as Duncan Stewart, a robber of a convenience store, in Season 3.
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In a video blog, John Leguizamo held a poll with the cast on which can can dancer was the sexiest (the winner was Baby Doll).
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The music most asociated with the Can Can dance, which is also used in this movie, comes from Jacques Offenbach's 1858 operetta "Orfè e aux enfers" ("Oroheus in the Underworld"). It is called "The Infernal Galop." A galop is a fast country dance introduced to Paris society in the 1820's by the Duchesse de Berry.
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Out of all of the Diamond Dogs, only three don't participate in the can can: Arabia, China Doll, and Mome Fromage (the first three seen with Nini).
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The song Roxanne in the tango scene is the same as the song Roxanne by The Police.
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Tara Morice: the female lead in Baz Luhrmann's Strictly Ballroom (1992) briefly appears as a prostitute in the opening sequence.
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Some of Toulouse-Lautrec's lines in the scene after Satine rejects Christian are taken from his letters.
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In the first scene we see a completed white domed church of Sacrè Coeur atop the hill. The basilica was not completed until 1914, 14 years after the story takes place. (It is also shown directly across the Seine from the Eiffel Tower, which is northwest. It is actually northeast of the Eiffel tower and would not be visible in this view.)
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In the "Elephant Love Medley" scene, Satine and Christian are obviously lip-syncing. A few times, they miss saying the word all together, or they are just a part of a second behind the pre-recorded vocals.
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Toulouse says "you're the voice of the children of the revolution", but his lips don't match the words.
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During "El Tango de Roxanne", the Argentinian's shoes sometimes click on the floor and other times make no sound.
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When Satine says, "You're going to be bad for business", we see her from behind - but it is obvious her lips are not moving. (The remainder of the phrase, "I can tell", is shown from the front and her lips do move).
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Satine's caged lovebird "sings" like a canary.
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Satine's accent changes noticeably throughout the movie.
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Christian repeatedly refers to the "magical sitar player" falling from the ceiling during the climactic scene. It's actually the magical sitar that falls, not the sitar player.
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When Satine sings the line, "I hope you don't mind, I hope you don't mind... ." to the Duke, he is holding a wine bottle and she is barefoot. When she jumps on the bed, he is bottle-less and she wears shoes.
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During "Spectacular Spectacular" the doors can be seen closing behind Satine and Christian as Christian throws down the money. It can be seen closing again in the next shot when Christian has walked off stage and Harold comes to Satine.
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When Satine gets on top of Christian when they're in the elephant for the first time, his bowtie is sometimes on and sometimes off.
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At the end of the movie when Christian is singing "Come what may" to Satine, he passes the orchestra conductor twice.
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During the performance of Spectacular Spectacular! when the Argentinian enters he can be seen walking down the stairs and joining the rest of the dancers. A moment later when the shot cuts to a different angle, he can be seen walking down the stairs again.
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When Christian is first explaining his thoughts on love in the beginning, the Argentinian's cross necklace goes from outside his shirt to tucked inside his shirt.
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When Harold signs over the deed to the Moulin Rouge to The Duke, you can see The Duke's hair style changes constantly back and forth during the entire scene.
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When Satine is putting on the red dress with Marie, Satine turns around with her right arm raised to ask Harold how she looks, then the scene cuts to him for just a second. When the scene cuts back to Satine, her left arm is raised.
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During Spectacular Spectacular, as Toulouse is yelling "The greatest thing you'll ever learn is just to love and be loved in return" you see him start to grab the rope. When he starts to fall after Christian sings "Come What May" we see him not holding the rope, then suddenly he has the rope in his hand when he's falling towards the stage.
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When Satty begins to play the piano in El Tango de Roxanne, Christian can be seen strolling along the sidelines of the ballroom. He passes the same man and woman three times, twice in a far shot and once close.
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As Christian sings "Come What May" to Satine during the rehearsals he wears a brown hat in the wide shots, but not visible in the close-ups.
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During "Hindi Sad Diamonds", there is a close-up shot of Zidler turning around to look at the Duke, who is sitting in the front row. The next wide shot shows Zidler's red turban facing Satine (upstage) at the bottom of the screen. The next shot is again a close-up with Zidler facing the audience and looking at the Duke.
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During the performance, when Christian walks back onstage, Satine puts her left cheek against Christian's. In the next shot, it is her right cheek that touches Christian.
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While Satine is talking to Marie about being a real actress there is a candle burning by the mirror on the close up shot, but the next shot there is no candle.
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When Christian is mouthing the words of "Your Song" to Satine you can see that the fruit bowl has an apple and grapes on top of 3 oranges but during "the pitch" you can see that the oranges are on top of the grapes and the apple.
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When the champagne "disappears" from the Duke's hand it "reappears" back in the ice bucket during "the pitch".
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During the 'Spectacular Spectacular' dress rehearsal, contents of the theatre behind the Duke changes with every cut. Sometimes there is nothing, sometimes there is a horse/donkey, sometimes a stack of chairs and sometimes there are the chairs laid out neatly.
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When the Duke enters the elephant, Christian is hiding behind Satine. In alternating shots, he hides both beneath her cloak and behind her cloak.
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Before Satine sings the final "Come What May" there are tears streaming down her face and gook coming out of her nose. After the cut-away, her makeup is clean and her nose is beautiful.
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When Satine first enters the stage during the Indian dance number of Spectacular Spectacular!, her leg is alternately inside and outside of the slit in her dress.
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Near the beginning of "Roxanne" Nini is pushed away from the Argentinean into another man's arms. The next shot is shown from a different angle and she is standing alone. The man is behind her and moving toward her.
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When Satine is shoving the Duke out of the elephant at the end of one scene, he is fully out the door but in the next shot she is shoving him out of the door.
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During "The Show Must Go On," when Satine walks down the aisle of the theater towards Harold and the doors, she pauses for a moment in front of him. The camera moves to Harold's face for a moment, and then back to Satine, who is now standing level with him.
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Just after Chocolat leaves the passed out Satine (recovering from her fall from the swing) and returns to the dance floor he goes from having a rhinestone top hat on to having no hat at all and back again about 4 times.
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As Christian sings "Come What May" to Satine during the rehearsals he wears a brown hat. In closeup shots of Christian, he doesn't wear the hat but in all the long shots the hat is on.
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When Christian is exiting the ballroom during "Roxanne", a fire is burning unattended beside him. As the shot moves along, a person appears before the fire, and disappears in the next shot.
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During the Elephant Love Medley when Christian and Satine sing "We could be Heroes", Christian can be seen moving unevenly from the doorway to a handbreadth away from Satine's face, and in the following shot approaches her slowly from a different angle.
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During "Roxanne" when the men are spinning around Nini, she changes from dancing alone to being spun around by another man and back.
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The color of Satine's lipstick during the opening sequence for "Diamonds Are a Girls Best Friend".
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Satine's lipstick when she and Christian are kissing on the balcony.
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When one of the Bohos is swinging on the chandelier during "the pitch" in the elephant, he is being pushed by a crewmember wearing a wristwatch and a baseball cap.
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A steadicam operator and another crewman is visible during the Can-Can dance.
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In the final performance, the shadow of the camera crane falls on Satine's dress.
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Cameraman's foot and leg visible in the background of the Can Can scene. (Seen in the Extended Can Can in the 2nd disc. Appears when the Can Can Girls begin to lay on the floor kicking their legs in the air.)
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During "Roxanne", a camera, and a crew member wearing modern shorts, are clearly in shot on the right-hand side of the screen.
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In the scene where Nini asks the Duke "Why would the Courtesan choose the penniless writer - oops. I MEAN SITAR PLAYER!", the cast is performing on stage. They have platforms going so far up you can't see the top at the camera level at the stage. You can see a cameraman's shadow from a platform that is higher than camera level.
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After the emergency rehearsal/pitch, the camera pulls back out of the elephant and hits the suspended heart.
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It has been suggested that the long white coat Christian is wearing on stage (the one he took from the Narcoleptic Argentinean) mysteriously disappears before he begins singing to Satine, but in fact we see him take it off as he walks down the aisle. It does disappear from the floor, but perhaps some helpful theatergoer picked it up while we weren't looking.
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During the Green Fairy "Sound of Music" song, while Christian and the Bohemians are standing and singing outside of the "L'amour" apartment, Toulouse raises his leg and you can see a knee instead of his foot.
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When Christian kicks Toulouse out of his room, Toulouse reaches much too far down for the door knob. Since Toulouse is 4'11" the door knob would be around chest height, not waist height.
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The scar under Warner's eye switch sides throughout the movie. In the scene where the Duke calls Toulouse "pig," it switches several times between cuts.
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While "Spectacular, Spectacular" is being sung, it is clear that Toulouse is dragging his "feet" instead of lifting them.
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During "One Day I'll Fly Away", the gold embellishments of the elephant bend slightly when Satine leans against them.
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As Satine and Christian descend from the top of the elephant and enter the chamber inside, the hanging ornaments above the entrance can be seen to start moving by themselves - this is from the wires that the actors had to wear when atop the elephant but which were digitally removed from the image.
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When Christian is holding the dead Satine in his arms and crying, the final above shot of him shows his lips saying her name,"Satine..." though no name can be heard.
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When Satine is dying in Christian's arms, the above shot of her shows the side of Christian's face clean and relaxed, but from below his face is teary, tense and red from crying.
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During "Roxanne", when The Duke is telling Satine his plans to make her a star, the table before her has only a few candelabras and a platter of red pastries. When the table is shown again, as Satine is sweeping items off to hinder The Duke's pursuit towards her, many more platters and plates are seen than before.
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At the end when Christian is crying and pulling the dead Satine towards him, you briefly see her blink. Newly deceased corpses can do this.
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jealousy|death of main character|two suitors|eiffel tower paris|tragedy|title spoken by character|duke|moulin rouge|courtesan|bohemian|writer|poet|1900s|freedom|toulouse lautrec|typewriter|fast cutting|apache dance|death of girlfriend|heroine dies|dying in arms of lover|suitor|cough foreshadows death|19th century|crying man|color in title|surrealism|flashback|anachronism|punctuation in title|exclamation point in title|altered version of studio logo|no opening credits|indian music|postmodernism|true love|narcolepsy|bookend|writer hero|writer's block|turn of the century|told in flashback|terminal illness|play within film|play rewrite|play director|parallel story|investor|gun|doomed romance|dinner|attempted rape|attempted murder|apartment|paris france|satire|1890s|cancan|absinthe|mistaken identity|stage|la boheme|seduction|windmill|poetry|theater|french maid|la traviata|red curtain|playwright|orpheus and eurydice|writing|dance|la dame aux camelias|tuberculosis|acting|rock music|france|prostitution|dying|pop music|rich snob|tango|maharajah|maid uniform|schoolgirl uniform|dance hall|dream|nightclub|cancan dance|rape|fat suit|liberty|india|death threat|midget|reverse footage|fetish|woman in uniform|schoolgirl|
AKAs Titles:
Argentina - Moulin Rouge!
Argentina - Moulin Rouge, amor en rojo
Bulgaria (Bulgarian title) - Ðœулен Руж
Brazil - Moulin Rouge - Amor Em Vermelho
Brazil - Moulin Rouge: Amor em Vermelho
Colombia - Amor en rojo
Germany - Moulin Rouge!
Spain - Moulin Rouge
Finland - Moulin Rouge
Finland (TV title) - Moulin Rouge!
France - Moulin Rouge
Greece - Moulin Rouge!
Croatia - Moulin Rouge
Mexico - Amor en rojo
Peru - Moulin Rouge, amor en rojo
Portugal - Moulin Rouge!
Serbia - Mulen ruž
Russia - Ðœулен Руж
Turkey (Turkish title) - Kirmizi Degirmen
USA (alternative spelling) - Moulin Rouge
Release Dates:
Certifications:
Argentina:13 / Australia:M / Brazil:12 / Canada:PG (Alberta/British Columbia/Manitoba/Nova Scotia/Ontario) / Canada:G (Quebec) / Chile:TE / Finland:K-11 / Finland:K-12/9 (2012 reform re-rating) / France:U / Germany:12 (bw) / Greece:K-13 / Hong Kong:IIA / Hungary:14 / Iceland:L / Malaysia:18SX / Netherlands:12 / New Zealand:M / Norway:11 / Peru:14 / Philippines:PG-13 / Portugal:M/12 / Singapore:PG / South Korea:15 / Spain:7 / Sweden:7 / Switzerland:10 (canton of Geneva) / Switzerland:10 (canton of Vaud) / UK:12 / USA:PG-13 (Approved No. 37977)
Movie Details:
MOVIE
