It's as if Movies Were New Again!

Rating: Null/10 (13 March 2002)

Moulin Rouge hearkens back to a time when movies had the fresh feeling of adolescence, intoxicated by their own possibilities. It's a deliciously offbeat film, completely aware of its own audacity. Not only does it reestablish the movie musical with verve and sincerity, but it does so in a unique and defining way. By mixing turn-of-the-century and contemporary icons, the craziness of the Moulin Rouge is updated for today's desensitized viewers, giving us an idea of just how liberating and frightening it must have been to visit that infamous dance hall all those years ago. It really "Smells Like Teen Spirit."
Christian (Ewan McGregor) comes to the Paris of 1899 an idealistic youth, searching for the materialization of his firm beliefs in truth, freedom, beauty, and love. Like a prodigal son he strays to the world of the Moulin Rouge, a decadent world of , , prostitution, and bohemian indulgence. It is there, through the frenetic tempo of extravagant sets and costumes, that he finds Satine (Nicole Kidman) a beautiful but jaded courtesan. Falling into a boyish infatuation, Christian confronts Satine, realizing his love, and her's in return. But their hope is dwindled, as Satine has sold her body in contract to the terrible Duke. Besides that, she is embittered with a horrible and ultimately tragic secret.
The story is clichéd to be sure (it's similarities to Camille often make you wonder if writers weren't merely using an old cliché, but an old movie), but it seems to work, if only because of director Baz Luhrman's wholehearted belief in its values. He digs down into the deeply hidden heart of his story, replacing the dirt of a hundred cheap melodramas with a visual artistry unrivaled by anything in years. In this way it expresses the sincere, almost raw emotion these stories once contained in a completely new way. Did we say completely new way?!
The visual artifice of Moulin Rouge is astoundingly fresh! It's painterly but kinetic in a way only a movie could be. The fabulous choreography, music, set design, performances... all blend to form a visual, aural, and emotional experience like no other! It has the Technicolor richness of a 50's Hollywood musical, but often the feel of a music video. The visual style ranges from somber pop-up book, to giddy cartoon, to lilting romantic dreamworld, to fantastic Bollywood production, and everything fits! That director Luhrman has managed to bring this all to the screen with such clarity is somewhat astonishing.
But of course we could not write a review of Moulin Rouge without mentioning the bizarre choice of music. Luhrman has unusual confidence in his eccentricities. But then again who else could take "Roxanne" and turn it into a beautiful, , haunting tango? And who knew "Like a Virgin" as sung by Jim Broadbent could serve as a goosepimply, if ironically bitter, release?
Of course it could also help that most of these songs are sung by the rapturous voices of Ewan McGregor and Nicole Kidman. Their performances are beautiful and sincere, particular Ewan's (that I feel the need to call him by his first name only proves how close to him I became). He becomes his role with unbelievable passion and heart. He has a bit of something that goes beyond acting, he has the magic of a great performance. He can embody youth, charming goofiness, and shattered idealist, and if he wasn't in love with Nicole Kidman! All this he expresses with an absolutely angelic singing voice (even its occasional weaknesses serve as charming strengths). You fall in love not only with him, but for him. The Academy not honoring him with at least a nomination would be a great disappointment.
Nicole Kidman is both y and beautiful, like the film itself a daring blend of old and new. She's part 30's queen, part pop star, a little Marlene Dietrich, a little Madonna. When discussing Moulin Rouge I've found that many would not see it solely because Nicole was in it, and this is sad. Her performance here is excellent, displaying her full range of talents. She expresses her usual cool seductiveness, but also a surprising comic flair, and at times an aching emotion. And did we mention her singing? Like Ewan, Nicole has a hidden vocal talent. Her voice puts resounding meaning into something that was once just something dumb on the radio. Her efforts have resulted in numerous awards, including a Golden Globe for Best Actress in a Musical or Comedy, and at least and Oscar nomination is certainly on its way.
The way all these unique visuals, and performances are organized is also extremely unique. The editing style has been criticized as frenetic, and poorly structured, but I would have to disagree. If one watches this film carefully enough they with realize that each cut serves in the dance, by punctuating each note. This becomes most apparent in the previously mention Tango de Roxanne, one of the many brilliantly choreographed, grandiose dance numbers. As the momentum and emotion expressed by the dance and song builds, the editing follows, rapidly increasing in cuts until finally bursting like a heart overwhelmed by its own beating. Similarly, when Christian first enters the Moulin Rouge the frightening madness of it all is perfectly captured by Luhrman's crazed scissors.
That Moulin Rouge has completely polarized critics is of no surprise. A large group of great films have done so, and I think this one is both a socially, and artistically important one. There are many who have called it a ridiculous piece of "pop trash." What these critics seem to forget is that Astaire and Rogers were the biggest pop icons of their era, and their stories were no more original. Ok, maybe Ewan and Nicole aren't exactly Fred and Ginger, but you get my point. Still it is exactly these critics who complain that American film studious never churn out anything original, and then turn to panning a film like this.
But regardless of how anyone else sees it, I would call Moulin Rouge a great film, and doubtlessly my favorite of the year. It is easily deserving of awards in the majority of Oscar categories. Acting, editing, set and costume design, direction, everything is in its own way unique and beautiful. It may look like Busby Berkeley on acid, but beneath the extravagance is a beating emotion. In a film industry ted by cynicism, it is relieving to find a movie that dares to be sincere. Say what you will, but this Oscar season I'll be rooting for the most opulent, energetic, emotional, beautiful, brilliant, audacious movie of the year. Moulin Rouge anyone?