MOULIN ROUGE
reviewed by: ReelReviewz@aol.com
graphix by: Michael Popo

MOVIE BIASES: Don't like musicals, but the shimmery trailers make this one look inviting.
MAJOR PLAYERS: Nicole Kidman (Eyes Wide Shut), Ewan McGregor (The Phantom Menace), and co-writer/director Baz Luhrmann (Romeo + Juliet).

I hate musicals. Yeah, I said it, all you Rodgers & Hammerstein lovers out there. I never could wrap my mind around the concept of people breaking into song in the middle of a scene. Yet here comes "Moulin Rouge," a movie so incredible, so singularly outstanding, it showed me what a musical is supposed to be about while reminding us of our reason for being.

In turn-of-the-20th-century Paris, a wildly idealistic and lovelorn naïf named Christian (McGregor) is recruited as a bohemian revolutionary writer to concoct a show about beauty, freedom, truth, and "above all things, love," called "Spectacular! Spectacular!" Pitching the show to Moulin Rouge huckster Zidler (Jim Broadbent) won't be easy, as Christian and Toulouse Latrec (John Leguizamo, lisping fiercely) need the financing of the Duke (Richard Roxburgh). All the Duke cares about, however, is obtaining the exclusive rights to the ambitious courtesan cancan dancer Satine (Kidman), who wants to be an actress. Once the Duke backs the show, its star, Satine, ends up accidentally falling for its bohemian revolutionary writer. But can their illicit love thrive against the backdrop of staging "Spectacular! Spectacular!" and the Duke's insanely jealous, possessive nature?

McGregor is pitch perfect as Christian, remarkably earnest and heartfelt in his boyish intensity and overruling dedication to love. Kidman's ice blue eyes give Satine her emotional distance, yet also suck you in when she begins to fall for Christian. Of their singing, Kidman's voice is capable enough, but who knew McGregor's voice had such ethereal, light buoyancy to it? A real and tangible chemistry between Kidman and McGregor is as fascinating to watch as any I've seen onscreen in the past two years. The urgency and passion in their eyes…You believe him when Christian says, "All you need is love."
Everything surrounding the story, their love, is a three-ring circus of spectacular (spectacular!) visual achievement. Luhrmann has created an orgiastic world of color, sound, and attitude. Through the first half of the movie, don't sit too close as you may catch motion sickness from the dizzying photography and rapid fire editing that douses you in this incredibly layered, colorful, antique of a world. The second half of the movie, once we are assimilated, slows down enough to powerfully frame images of beauty, love, heartbreak, and betrayal. Anachronistically modern mixes of recognizable songs (including "Material Girl," "Rhythm of the Night," and "Diamonds Are A Girl's Best Friend") play to our astute contemporary sensibilities. Backed by Luhrmann's lush, opulent (drug induced?) vision, I would be astounded if this movie is not Oscar-nominated for set design, costumes, and makeup. Even the lighting is terrific and terribly complex. And the heartbreakingly elegant musical score will be remembered as among the year's best.

As if there were ever a doubt, this is Baz Luhrmann's world. The script he co-wrote is AMAZING. It is amazing in the complexity of emotion it draws out through simplicity of dialogue. The script sets the tone for the poetry of dance and motion in this movie, speaking in grandiose fashion about the power and importance of love. This movie is defiantly original, unlike anything being produced today. And it drives such a wonderfully unoriginal message, that it made my increasingly jaded self truly believe in love again. This movie speaks to me. And to the dozens crying in the audience, it obviously speaks to them, too.
"The greatest thing you'll ever learn is just to love and be loved in return." True. But the greatest thing you can do this year is to take a visit - and a significant other - to the "Moulin Rouge."

@@@@ REELS (FOUR REELS) An urban legend/instant classic.
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BIASES: mid 20s black male; frustrated screenwriter who favors action, comedy, and glossy, big budget movies over indie flicks, kiddie flicks, and weepy Merchant Ivory fare
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