In 1953, Jose Ferrer received a Best Actor Oscar nomination for the film Moulin Rouge. It was set in Paris during the Gay 90's. He played Toulouse-Lautrec, a bitter and alcoholic but well-spoken man who was also a talented illustrator. It was his posters for the Moulin Rouge nightclub that made it famous.

While the 1952 film was largely fictional, its liberties with history have nothing on the 2001 movie of the same name. The new Moulin Rouge offers a different Toulouse-Lautrec. Here, he's a bizarre and effeminate actor fond of energetic gymnastics and outlandish costumes and makeup.

It doesn't take much effort to decide which version of Toulouse-Lautrec is more credible. Glum as it may be, I'll take the 1952 film, thank you very much.

Granted, movies are not documentaries, and the 2001 Moulin Rouge does offer escapist eye (and ear?) candy. But since it is a love story at its core, why then does the apple itself rely so much upon outrageously excessive production?

As has been much publicized, Nicole Kidman and Ewan McGregor perform their own singing. Kidman has a whispering but competent imitation of Madonna, while McGregor's voice reminds me of Jon Secada. Which would impress me more if I thought that Secada was a particularly good singer.

While their vocals are somewhat bland, more flair is added by the supporting cast. Jim Broadbent is a splendid choice as the club's owner, and he is forgiven for his ridiculous makeup and costumes, over which he has little control.

While this is by no means necessarily a detraction, Moulin Rouge doesn't have the feel of a Hollywood movie. Completely filmed on a sound stage, it is more like a Webber/Rice musical; bombastic and painstakingly choreographed with elaborate costumes and an unnecessarily large number of stage dancers.

It is also like an opera, due to the extreme emoting on the part of the characters. Humble songwriter Christian (McGregor) does not merely love Satine (Kidman), he loves her, and assumedly for her marvelous soul rather than because she's a ravishing celebrity.

Just as the Duke (Richard Roxburgh) is not simply jealous, he's jealous, to the point of attempted murder and, worse, making a complete dolt of himself.

But the movie is not like an opera either, because Kidman and McGregor lack operatic voices, and operas don't play 'name that tune' with ensemble choruses of pop songs. If Jose Ferrer is not spinning in his grave, then Kurt Cobain definitely is.

Remove all of the sizzle, and there isn't much steak. A love triangle that ends tragically, which is a plot straight out of Drama 101.

Nonetheless, Moulin Rouge was a box office smash, and it scored among the majority of critics as well. The buzz lasted through Oscar season, and the film won awards for its art direction and costume design. It was also nominated for Best Picture, Best Actress (Kidman), Best Cinematography (Donald McAlpin), Best Editing (Jill Bilcock), Best Makeup, and Best Sound.

Director Baz Luhrmann first made cinematic waves with Strictly Ballroom (1992), another weird carnival show of costumes, attitude, and choreography. But while his commercial and critical success is undeniable, he hasn't realized (or perhaps, cared) that style is not content. (42/100)

k@filmsgraded.com, filmsgraded.com


Recommended:
No

Viewing Format: VHS
Video Occasion: Good Date Movie
Suitability For Children: Suitable for Children up Ages 8