hiptobesquare_x
Posts: 1384
Joined: 27/6/2009 From: A petri dish.
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10. Moulin Rouge! Dir: Baz Luhrmann, 2001 A magnificent, opulent, tremendous, stupendous, gargantuan, bedazzlement, a sensual ravishment. Take a Moulin Rouge courtesan, a penniless English writer who falls in love with her, a pantomime Duke, the friendly neighbourhood dwarf, a pimp in a snazzy hat, a Bowie song, and top it all off with a good dash of Absinthe and what do you have? No, not a naff Mills and Boon plot, or an incredibly dodgy porn film, but one of the most visually captivating, beautiful, and indeed sincere, love stories ever made. (I'll warn you now that hyperbole is going to be a common feature here.) I'll be honest and say my love for this knows no bounds; it's probably the only film I can actually sit and watch whilst reciting the whole script, musical numbers included (this comes from watching it at least once a week for about a year when I was 12). I don't know what exactly it is about this film that makes it such compulsive viewing for me. I don't know if it's the big musical numbers, the sparkly costumes, the opulent sets, the brilliant cast, or the way Baz Luhrmann edits a film into a startling number of epileptic fit inducing cuts, but this film will never lose it's magic. The two leads are perfect. Rather than opt for two singers who could act, Luhrmann went for two actors who could actually sing, and it really payed off. In a film of excess and heightened emotion, the love story between the two plays out beautifully and with a great deal of subtlety. Granted, not every day is it that you profess your love for someone via the medium of song, sat astride a giant, glittering elephant, but it's the chemistry between Kidman and McGregor that really gives the film it's emotional pull. In one respect it's hard to believe that both actors were both in their 30s when they made this as their presentation of first love is nigh on perfect. Satine is a jaded courtesan, yet the arrival of Christian ushers in a naivety you wouldn't expect, and which Kidman with her doe-eyed looks gets spot-on. One of the most impressive things about this film, in my view, is the fact that we're told from the outset that Satine ends the film in a box; not content with that Luhrmann peppers the rest of the film with 'dying swan' shots, yet, the end is still just as moving. You may be expecting it, but that doesn't detract from the emotional effect it has. Ok, the final scene does have a lot of 'tell our story Christian... I'll always be with you' ten-a-penny lines which seem faintly ridiculous, however, it still makes me cry like a baby. Now on to the musical side of things. MR! has a stunning score by Craig Armstrong, relying heavily on soaring string sections, always adding to the on-screen action, but never detracting. The big musical numbers are brilliant, being familiar classics with a twist; honourable mention to the Elephant Love Medley, a.k.a how to nab a prostitute for free in under 4 minutes. But for me, the standout song is the one original composition, Come What May. An incredibly simple love song, which fits the film's central story arch perfectly. The penultimate scene in which Satine begins to sing this to Christian is possibly my favourite scene. Spectacularly under-played by Kidman who sings with heart-breaking conviction, it is this which reaffirms everything the film has said about love. Whether you find it garish or glorious, love it or loathe it, Moulin Rouge! remains, in my opinion, Luhrmann's best film to date. Although it may be something of an homage to musicals from the Golden Age, Luhrmann's film is so much more. Visually stunning and heart-breaking, never mind being in my Top 10 of the Decade, it easily finds it's way into my top films of all time.
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