Ambitious, engrossing spectacle.

Rating: 10/10 (29 October 2001)

Moulin Rouge is what it sets out to be: a dazzling, colourful, exuberant celebration of bohemia and song. Normally, such glossy, seemingly shallow fare would best be avoided, but Moulin Rouge is an exception. And a damn good one at that.
*small spoilers*
Ewan McGregor is Christian, a romantic young poet with a knack for improvising song lyrics, a talent that brings him (via some drunken bohemians) to the Moulin Rouge - a nightclub for the rich and the beautiful, a whirlwind of sex and glamour. After a case of (that old screwball chestnut) mistaken identity, Christian ends up inadvertently falling for (and winning over) the queen bee of the Moulin Rouge - Nicole Kidman's courtesan Satine. Their romance is cemented in a visually stunning (and well sung) performance of Elton John's 'Your Song', but (as with all romances) their love is threatened, in this case by a whining rodent of a Duke (Richard Roxburgh). He wants Satine and seeing as Zidler (Jim Broadbent), the owner of the Moulin Rouge, needs the Duke's financing, he agrees to hand his star attraction over.
The narrative is as dull and unoriginal as that. As far as the story is concerned, Moulin Rouge is poor. But this, surprisingly, doesn't seem to matter much. The story is secondary, a mere backdrop for Luhrmann to stage extraordinary musical numbers, and to display a range of emotions in the most glamorous and dazzling ways possible. If his attempts at doing so had fallen flat (none do), then this film would have been disastrous, like a 'Rocky Horror Picture Show' without the wryness and the controversy.
Luhrmann delivered us an overly familiar story for a reason: this film is so packed with music, song, extravagant camera angles and sheer personality that an original story could have been overload. What Luhrmann has given us instead is a fantastic, original idea. The anachronistic use of familiar music is a pure success. The sentiments of each song represent what the Moulin Rouge was; a place of freedom, energy and lust (this is best shown in the introduction to the nightclub, when Luhrmann splices 'Smells Like Teen Spirit', 'Lady Marmalade' and 'Diamond Dogs' with a manic reworking of the Can Can).
The film's unrelenting energy may overwhelm some, and it NEVER lets up. This can be seen as a virtue, but if you're unprepared for it, it could work the other way.
Whether you love Moulin Rouge for its anachronism and explosiveness, or if you hate it, it can't be denied that Moulin Rouge is made by people with talent and vision. Luhrmann puts on a grand show, and his actors serve him very well indeed.
Roxburgh copes well with the cliched Duke, while Broadbent is completely charismatic as Zidler. In the leads, Kidman and McGregor are outstanding. Although her vocals shake on the odd occasion, Kidman demands to be watched - her startling rendition of 'Diamonds are a Girl's Best Friend' is magnificent, reminiscent of Marlene Dietrich, but she gleefully ditches the sophistication when she partakes wonderfully in the impromptu song-and-dance pitch for a play. McGregor is also enchanting as he perfectly captures the dreamy-eyed, romantic optimism of Christian. His voice is stunning, and he is an ideal hero. Broadbent, Kidman and McGregor all deserve Oscar noms for their work, and I wouldn't be surprised if Kidman takes one home.
Other scenes to watch out for: the wonderfully executed tango to 'Roxanne', the show-stopping 'Like A Virgin' routine, a witty exchange of song lyrics between Kidman & McGregor atop a huge bejewelled elephant, and an hilarious cameo from Kylie Minogue as a green sprite with a fondness for 'The Sound of Music'.
Moulin Rouge takes advantage of the magic of cinema, a concept that is so often talked about, but rarely used with such conviction, originality and ambition. Allow it it's flaws, and appreciate its many virtues - a great show.
10/10