Moulin RougeMoulin Rouge

Jacqui WhitmoreJacqui Whitmore

Professor RadekProfessor RadekFLM 2009-01FLM 2009-01

3 December 20093 December 2009

PhotographyPhotography

► Directed by Baz Directed by Baz Lurhman in 2001 (Moulin Lurhman in 2001 (Moulin Rouge! 1)Rouge! 1)

► A story about two lovers A story about two lovers who must overcome any who must overcome any obstacle for ‘Freedom, obstacle for ‘Freedom, Beauty, Truth, and Beauty, Truth, and LOVE’.LOVE’.

► Involving mostly Involving mostly Close-up shots, Close-up shots, giving that feeling giving that feeling of knowing the of knowing the character and an character and an intimacy as though intimacy as though the feelings can be the feelings can be conveyed purely conveyed purely through closeness.through closeness.

AnglesAngles

►Most of the film consists of Eye-level Most of the film consists of Eye-level angling.angling.

►But in the beginning of the movie But in the beginning of the movie there are more high-angle shots (a there are more high-angle shots (a smattering of Birds-eye as well) To smattering of Birds-eye as well) To give a hopeful feeling to the audience.give a hopeful feeling to the audience.

►Towards the end the cameras stray Towards the end the cameras stray downward, making the audience feel downward, making the audience feel helpless.helpless.

► High-High-angleangle

►Eye LevelEye Level

►Low-angleLow-angle

Coloration and LightingColoration and Lighting

►Moulin Rouge is most often low-key Moulin Rouge is most often low-key with Hard lighting, making shadows with Hard lighting, making shadows and highlights starker and more and highlights starker and more contrasting.contrasting.

►Colors are such a huge part of the Colors are such a huge part of the movie’s symbolism.movie’s symbolism.

► Red for Lust and Red for Lust and Passion (and Love, Passion (and Love, of course)of course)

► Blue for illusion and Blue for illusion and sadness or sadness or depression.depression.

► Hard, dark lighting, Hard, dark lighting, a film noir feeling.a film noir feeling.

Mise-en-SceneMise-en-Scene

Mise-en-Scene is not a very large Mise-en-Scene is not a very large portion of this movie, but it is portion of this movie, but it is sometimes used to convey the sometimes used to convey the themes of duality and the themes of duality and the importance of ‘Freedom, Beauty, importance of ‘Freedom, Beauty, Truth, and Love’.Truth, and Love’.

ContrastsContrasts

Because of the Because of the majority of the majority of the movie has close-up movie has close-up shots it is evident shots it is evident what the subject is, what the subject is, but there are some but there are some cases where this is cases where this is different.different. Here we primarily see Here we primarily see

the typewriter, the typewriter, showing the showing the overpowering need overpowering need that Christian feels to that Christian feels to type.type.

Here we see Here we see Christian Dwarfed Christian Dwarfed in the background in the background while the while the Bohemians are Bohemians are taking over the taking over the scene and make it scene and make it show that he’s show that he’s powerless and powerless and rather befuddled in rather befuddled in this situation.this situation.

Character Character PlacementPlacement

Due to the Due to the promiscuous and promiscuous and sensual nature of sensual nature of the movie, there is the movie, there is no such thing as no such thing as ‘personal space’. ‘personal space’. Most of the movie Most of the movie gives an intimate gives an intimate distance to the distance to the other characters.other characters.

CompositionComposition

In so much of In so much of Moulin RougeMoulin Rouge there there are elements are elements showing ‘wide’ showing ‘wide’ open places, open places, showing that there showing that there are endless are endless possibilities in the possibilities in the choices and giving choices and giving that ‘Freedom’ that ‘Freedom’ Theme a stretch.Theme a stretch.

Movement

Movement is such a large part of Rouge This is a song widely about near-catches and dance and movement.

Movement within the Frame

The characters primarily move from left to right, both in dance and in regular walking and movement.

A case of this would be while Ziddler is singing the introduction of the Moulin Rouge in ‘You’ll Have Fun’.

Movement of the Frame

Zoom and Tilt shots seem to be the love of Baz’s life. Especially Zooms, which can only be expected with so many close up shots.

Animation

Showed most often as a sign that there is something ‘bad’ going on. Very often A slow-motion sequence will come up when, say, Santine is showing signs of her illness, coughing, fainting, falling, and eventually dying.

EditingEditing

There is an instance of each kind of There is an instance of each kind of editing in editing in Moulin RougeMoulin Rouge. But the one . But the one that I want to focus on, as it happens that I want to focus on, as it happens the most often, is Classical Cutting, the most often, is Classical Cutting, because of the song-sequences this because of the song-sequences this happens often in the movie.happens often in the movie.

RoxanneRoxanne

I Only Speak the TruthI Only Speak the Truth

So often the Classical cutting shows So often the Classical cutting shows how high emotions are rolling, and how high emotions are rolling, and gives a feel of what is happening to gives a feel of what is happening to each character as well go through, each character as well go through, tying together at the end of each tying together at the end of each song.song.

Sound

Music is the tying theme, the purpose, if you will of the movie, and the vehicle of the theme.

Music

The chord structures of so many of these songs are beautiful to listen to, but give the seventh chord, giving unease and stress to the scenes.

An underscore is only taken out at important moments, times that seem like time, hearts, and emotions stop and are suspended.

ActingActing

• There several Stars in Moulin Rouge, including Ewan McGregor, Nicole Kidman, and John Leguizamo (Moulin Rouge, 2)

• But, conversely, there are many extras/Trained professionals. The male extras, for the most part, seem to have little talent, whereas the females dance, and all extras, I imagine, sing.

Nicole KidmanNicole Kidman

Possibly the Possibly the biggest name in biggest name in Moulin RougeMoulin Rouge

The leading lady, The leading lady, as always, due to as always, due to her beauty and her beauty and grace, as well as grace, as well as her ability to hold her ability to hold any make-up and any make-up and hair-color/style.hair-color/style.

Ewan McGregorEwan McGregor

• This is often considered his ‘Opus’. He was a name in Hollywood before this movie, but this helped his career more than we know.

• He’s very often put in this role of the ‘questing’ male part.

John Leguizamo John Leguizamo

• John is most often a ‘character’ in movies. Always something of the comic relief. (Moulin Rouge, 1)

• Moulin Rouge is no different.

DramaDrama

Moulin RougeMoulin Rouge, being a ‘musical’ , being a ‘musical’ movie, is so very like a musical, only movie, is so very like a musical, only with the ability to use camera angles with the ability to use camera angles and close ups.and close ups.

Film is the best medium for this Film is the best medium for this movie, able to see the nuances and movie, able to see the nuances and use those cuts in songs instead of use those cuts in songs instead of only having the performers (as with only having the performers (as with the Love-Medley on the Elephant)the Love-Medley on the Elephant)

Set AnalysisSet Analysis

The set is vast, spanning to multiple The set is vast, spanning to multiple different rooms and sets, each an actual different rooms and sets, each an actual room in the Moulin Rouge of France.room in the Moulin Rouge of France.The main hall, where performances happen.The main hall, where performances happen.The ElephantThe ElephantThe Gothic room (which underwent major The Gothic room (which underwent major

changes in development)changes in development)La’mour fouLa’mour fou

Costume AnalysisCostume Analysis

Interesting about Interesting about costuming, historical costuming, historical context was used from context was used from paintings by the real paintings by the real ToulouseToulouse

Every performer from Every performer from the the Moulin RougeMoulin Rouge opening stage was opening stage was supposed to represent supposed to represent a fetish (bondage, a fetish (bondage, midgets, nurse, clown) midgets, nurse, clown)

StoryStory

The movie is based on Barbara F. The movie is based on Barbara F. McManus’ Pyramid.McManus’ Pyramid.

In the beginning, we see Christian typing In the beginning, we see Christian typing his story, thus the story plays out and, in his story, thus the story plays out and, in the end, we see how Christian got to that the end, we see how Christian got to that point of depression and why he is no point of depression and why he is no longer with Satine.longer with Satine.

Sub plotsSub plots

The large story is all about the love of The large story is all about the love of Satine and Christian, but there ARE sub Satine and Christian, but there ARE sub plotsplots Toulouse is trying to get his bohemian showToulouse is trying to get his bohemian show The Duke is attempting to make Satine only The Duke is attempting to make Satine only

his with Zidlerhis with Zidler Satine has her agenda of becoming a ‘real Satine has her agenda of becoming a ‘real

actress’actress’

WritingWriting

Moulin Rouge is based, mostly, on Moulin Rouge is based, mostly, on three stories:three stories: The Little Clay Cart (the element of a The Little Clay Cart (the element of a

play within a play going on)play within a play going on) The Orpheus story (a man goes into the The Orpheus story (a man goes into the

very pits of hell to find his love, almost very pits of hell to find his love, almost takes her out of the underworld, only to takes her out of the underworld, only to have her taken away.)have her taken away.)

La Traviata (the ‘Fallen’ woman) (Moulin La Traviata (the ‘Fallen’ woman) (Moulin Rouge, 1)Rouge, 1)

The ScriptThe Script

This underwent several different edits.This underwent several different edits. Originally, The Duke was to seduce both Originally, The Duke was to seduce both

Christian and Satine and hook them on Christian and Satine and hook them on morphine (I haven’t been able to find this morphine (I haven’t been able to find this script, but I WANT to)script, but I WANT to)

The Duke had a song called ‘My Way’The Duke had a song called ‘My Way’ In the beginning of the movie, Christians father In the beginning of the movie, Christians father

and other men were going to have a song and other men were going to have a song medley of how he should stay.medley of how he should stay.

And, the ‘placeholder’ name of the Duke was And, the ‘placeholder’ name of the Duke was ‘Count von Groovy’ (Moulin Rouge, 2)‘Count von Groovy’ (Moulin Rouge, 2)

IdeologyIdeology

The ideology of The ideology of Moulin RougeMoulin Rouge is explicitly is explicitly all BUT conservative, giving a liberal all BUT conservative, giving a liberal sense of the world.sense of the world.

The line of ‘Freedom, Beauty, Truth, and The line of ‘Freedom, Beauty, Truth, and that which we believe in above all things; that which we believe in above all things; Love’ comes out multiple times, saying Love’ comes out multiple times, saying how love is beautiful, so long as it is true how love is beautiful, so long as it is true love.love.

Moulin RougeMoulin Rouge is, as the times would is, as the times would suspect, very traditional in male and suspect, very traditional in male and female roles; female roles; women are to be objects of sex and desire, women are to be objects of sex and desire,

delicate and beautiful at all times.delicate and beautiful at all times. Men are in control of all things and are the Men are in control of all things and are the

only ones in business mind (As seen with only ones in business mind (As seen with Zidler and the Duke talking of Satine’s fate Zidler and the Duke talking of Satine’s fate without her presence)without her presence)

Liberal views are shown, however, in that Liberal views are shown, however, in that the protagonists are almost completely the protagonists are almost completely pacifistic it seems (only the Duke and his pacifistic it seems (only the Duke and his henchman use violence as a means of henchman use violence as a means of getting what they want).getting what they want).

The idea of the woman going with the The idea of the woman going with the penniless writer instead of the rich man is penniless writer instead of the rich man is something that isn’t new, but that certainly something that isn’t new, but that certainly goes against the ‘economically correct’ goes against the ‘economically correct’ thing to do.thing to do.

Theory

• Moulin Rouge is very formalistic.• The camera angles, lighting, and

many dance sequences are evidence of using all of the film components to tell the story and the underlying plot.

• There is a definite historic basis to Rouge but it is mostly a fictional love story with the directors spin on things.

Works CitedWorks Cited

"Moulin Rouge!" "Moulin Rouge!" Internet Movie Internet Movie DatabaseDatabase. 2001. Web. Fall 2009. . 2001. Web. Fall 2009. <http://www.imdb.com/>.<http://www.imdb.com/>.

"Moulin Rouge!" "Moulin Rouge!" WikipediaWikipedia. 2001. Web. . 2001. Web. Fall 2009. Fall 2009. <http://en.wikipedia.org/wiki/Main_Pag<http://en.wikipedia.org/wiki/Main_Page>.e>.

Moulin RougeMoulin Rouge. Dir. Baz Lurhmann. Perf. . Dir. Baz Lurhmann. Perf. Nicole Kidman, Ewan McGregor, John Nicole Kidman, Ewan McGregor, John Leguizamo. Fox Studios, 2001. DVD. Leguizamo. Fox Studios, 2001. DVD.