Style over substance, perhaps; and yet entirely befitting of the tone of the story

Rating: Null/10 (15 May 2008)

Despite a certain over-the-top pomposity and a general belief that it's doing something completely revolutionary with a tried and tested genre, Moulin Rouge (2001) is, at its heart, a 'good' film! The problem I imagine most people have when approaching it would be the first twenty-minutes; an almost incomprehensible mish-mash of silent film references and 21st century digital film techniques crossed thematically with contrasting elements of tragedy and humour. These first twenty minutes prove to be the jumping off point for many viewers; with the film giving us time to settle into its particular approach and use of cinematic language before getting into the more rewarding elements of the story at hand. For those who jumped ship, so to speak, the true power of the film will be wasted, with the initial shock value of the film's opening sequences eventually giving way to the more broadly recognisable aspects of the story; a story about Truth, Beauty, Freedom and, above all things else, Love.
Accusations of style over substance are probably accurate, with the formulaic plot being a well-worn one, mixing themes from classic opera such as La Bohème and Madam Butterfly - and even Luhrmann's own radical adaptation of Romeo + Juliet (1996) - with the idea of love struck poet Christian (McGregor) and celebrated burlesque performer Satine's (Kidman) secret affair becoming all too public, as the impending (and one must say, fairly obvious) sense of tragedy looms over their heads. However, as a musical, the use of style is entirely befitting of the form, especially when we take into consideration the use of absinth as one of the major motivators for the plot, not to mention the overly romanticised nature of the theme. So, we have both light and dark elements at play within the story; the light from the high-kicking musical numbers and the dark coming from the more operatic themed sense of tragedy, and all somewhat akin to the work of Dennis Potter perhaps, in which the recognisable melodrama of the musical was elevated to an agonisingly painful and personal degree.
The style nonetheless is there for a reason, creating a heightened world in which Lurhmann's anachronistic story unfolds. From the colourful and lively cinematography, to the editing, which is really at its best - with a remarkable use of juxtaposition of scenes presented within the "Tango de Roxanne" sequence, with the lyrical metaphors of The Police song about a prostitute who dared to fall in love - the film is a non-stop, giddy, kaleidoscope of visual motifs, references and elements of theatrical pastiche. It fully illustrates Lurhmann's skill as perhaps more of a stylist than storyteller, but you could certainly say the same thing about highly acclaimed filmmakers like Seijun Suzuki, Derek Jarman, Jacques Demy or Wong Kar-Wai. Without question, Moulin Rouge will always be something of a "love it or hate it" film for most audience - turning away some viewers whilst delighting others - with the enjoyment you get from the film really depending on how much work you're willing to put in.