An Innovative, Visual Feast

Rating: Null/10 (18 January 2002)

There's nothing quite like director Baz Luhrmann's Moulin Rouge; it's in a class by itself...a reinvention of the Hollywood musical in an explosion of color, motion, music and surprises. For some, the frenetic pace of the first half hour or so may be overwhelming and a bit frustrating, as your eyes beg for the camera to slow down. Especially in the large-scale dance numbers, it seems every lightening-fast camera angle has so much going on, your appetite for more and a chance to linger are merely increased. Fortunately, the pace of the film does diminish a little as the story advances. Carrying the plot are Nicole Kidman as the seductive Satine, a courtesan of the highest caliber, and Ewan McGregor as Christian, a struggling writer who hopes to score a hit at the Moulin Rouge. Both actors have never been in better form. Kidman is nothing less than ravishing as Satine, and in spite of her visual impact, manages to bring an element of humanity to her character...an element that could easily have been lost in a haze of glamour and pretension. Likewise, McGregor rises above the clamor and brings a sense of genuineness to his portrayal of a lowly artist who is overpowered by his love for Satine and his dream of creating a mega-hit on stage.
One of the film's biggest surprises are the singing voices of both actors, especially McGregor's, and the fact that even though most of the film's songs are very familiar, they succeed...thanks to innovative arrangements and staging. Actor Jim Broadbent as Harold Zidler turns in an effective performance as the nightclub's oily proprietor, though John Liguizamo's shrill portrayal of Toulouse-Lautrec was a bit irritating and over the top. Perhaps best of all, the overall plot, which is based on a relatively simple love story, doesn't get overshadowed or become insignificant in spite of the film's highly sensorial, stylized nature. So we end up with a unique cinematic experience that is both visually and viscerally stunning, and emotionally moving. It's the best of all worlds and heralds a new chapter in musicals on film, maybe even a comeback.