Film Friday: Moulin Rouge (2001)

Moulin Rouge is an enjoyable musical with moments of brilliance. But there are two flaws that keep the movie from being a great movie. At times, Moulin Rouge tries to be too clever, but at other times, it is not clever enough.

** spoiler alert **

What Is Moulin Rouge

Directed by Baz Luhrmann (Strictly Ballroom), Moulin Rouge is an unusual 2001 musical based loosely on Guiseppe Verdi’s opera La traviata. It takes place in Paris in 1899, during the "Bohemian Revolution," and tells the story of young writer Christian (Ewan McGregor), who falls in love with cabaret actress Satine (Nicole Kidman), who happens to be incapable of falling in love and suffers from tuberculosis. The romance between the two is interrupted by the Duke (Richard Roxburgh), who is promised Satine in exchange for investing his money into rebuilding the Moulin Rouge and paying for the production of the Indian-inspired "Spectacular Spectacular." As they prepare for the show, Satine and Christian hide their love from the Duke. His discovery of their love, mixed with Satine’s seeming betrayal of Christian, leads to the climax.

But it isn’t the story that makes Moulin Rouge so interesting, it’s the music. Unlike most musicals, with songs specifically written for the musical or its corresponding stage production, Moulin Rouge samples modern pop music. At times, whole songs are sampled, with or without changes to the lyrics. And in these instances, Moulin Rouge is typically brilliant. Elton John’s "Your Song" is woven brilliantly into the story line, as it is first spoken, then sung, then spoken again. The Police’s "Roxanne" was given new life as a Tango, which also drives the plot. Queen’s somewhat obscure "The Show Must Go On," from Freddy Mercury’s last album before his death (1991’s Innuendo), is equally well woven into the plot. The most traditional musical number, "Like A Virgin," also is brilliantly done, with the original lyrics intact, but their meaning changed as Zidler and his brigade of waiters chase the Duke around the room trying to convince him that Satine is both a shy demur girl and yet a wild, passionate creature. Only one song is truly original -- "Come What May" was written for Luhrmann’s Romeo + Juliet (1996), but was never used prior to Moulin Rouge.

It is in these musical moments that the cleverness of the writer shines through and the film is most enjoyable.

Too Clever By Half

But Moulin Rouge is also a great example of writers trying to be too clever. Moulin Rouge takes its plot from a combination of La Boheme (young writer falls in love with sick girl), La Traviata (courtesan learns to love) and the Greek Tragedy Orpheus and Eurydice (musical genius must venture into the underworld to retrieve his love). This makes for a complex story, but in and of itself, is not the problem. The problem arises when Luhrmann compounds the complexity by shooting the film as a story within a story within a story.

It’s the last story that’s the problem. Generally, the movie is the story of the love of Christian, the penniless writer, and Satine, the loveless actress, who must hide their love from the evil Duke as they work on the story of the penniless sitar player and the loveless courtesan, who must hide their love from the evil Maharaja. Those stories are intertwined enough to challenge the viewer. But on top of this, the writer adds a third story, as we are reminded several times that this entire story is being written by McGregor, a penniless writer sitting alone in his apartment with a typewriter.

There is no reason to add this third layer. In fact, it ultimately detracts from the film, because just when the love story of Christian and Satine comes to a happy and then tragic ending, we are quickly whisked back to McGregor’s apartment, thus taking away the emotional impact of what we have just seen. What's more, this is done for no discernible reason. We are neither given further details of McGregor’s life, like why this story would be significant to him, nor are we shown that despite our grief the “real” Satine still lives. Basically, returning to this third story is the film equivalent of Luhrmann telling the audience, “just kidding.”

But even within the story within the story, the writer gets too clever. As the story unfolds, we are treated to constant foreshadowing of Christian/Satine’s story by the sitar player/ courtesan story. But the foreshadowing is done so constantly and so heavy-handedly that it stops adding tension, by giving the audience hints of what may come, and instead eliminates tension by announcing to the audience exactly what is about to happen right before it does.

Moreover, the writer crams Moulin Rouge full of historical references. For example, the elephant in which Satine lives, really was constructed outside the actual Moulin Rouge. The character of Toulouse-Lautrec-Monfa was an actual midget and is considered one of the greatest post-impressionist painters. And many of the strangest images in the movie come directly from the paintings of Toulouse-Lautric. Even the green fairy (Kylie Minogue) is a reference to a famous drink from the period, absinth, which apparently caused madness in many a Bohemian artist. But these references are so fantastic and so strange -- and the audience is given no way to know that they are indeed historically accurate -- that the audience is left feeling that the director is simply trying to clutter the film with surrealistic images. Thus, rather than adding to the movie’s depth, they only confuse and distract from the film.

Not Clever Enough

Yet, in other ways, Moulin Rouge is not clever enough, particularly with some of the sampled songs. As noted above, all but one of the songs is taken from modern pop music. Some are taken in their entirety, but others are not. These others were created by sampling several pop songs, sometimes as little as one lyric, and then mixing the samples together to form medleys. The lyrics were then altered as needed to fit the story, turning these songs into Frankensongs. Finally, the actors recorded the new songs to give the vocals continuity.

But It is in the Frankensongs that the cleverness fails. Many times, the musical combinations are so jarring, particularly when a different sampled song is used for each new line, that no flow is created. At other times, the lyrics simply become non-sense. And unfortunately, some of the key moments in the film are done in this style. For example, in a particularly important scene that should establish the chemistry between Christian and Satine, Christian tries to convince Satine to give their love a chance by singing a series of lyrics from different songs that use the word “love.” But while the idea is clever, the execution is not. With each new lyric, the music changes to reflect the song from which the lyric was taken. But these songs don’t meld well together. Thus, rather than becoming an interesting medley, this becomes an exercise in “name that tune.” And McGregor, who I otherwise think is a great actor, does not have the vocal strength to bring order to this jumble. Thus, rather than building chemistry between the characters, this gimmick distracts the audience from the actors.

At the same time, the writer fails to pay the same attention to Satine. Indeed, rather than scouring the music world for replying lyrics, he just lets her sing-speak her responses. This seems lazy, as if the writer could not be bothered. Moreover, in the middle of this song, the writer suddenly switches from finding “love” songs to David Bowie’s "Heroes," which is a total non-sequitor: “we should be lovers” suddenly becomes “we could be heroes”? How the characters would be considered heroes is never explained, indeed, the line seems more like an excuse to get to a favored song rather than anything related to the plot. And even though the writer breaks free from the lyrics of "Heroes" almost immediately, the lyrics he substitutes don’t make a lot of sense. Consider this exchange:

Christian: We could be heroes, just for one day.
Satine: You, you will be mean.
Christian: No I won’t!
Satine: And I, I’ll drink all the time.
Christian: We should be lovers.
Satine: We can’t do that.
Christian: We should be lovers, and that’s a fact.
Satine: Though nothing, will keep us together.

This exchange has little relation to Christian’s prior wooings or Satine’s prior resistance, and there is no hint anywhere else in the plot that Christian is “mean” or that Satine is a drinker. Indeed, this exchange comes across as entirely out of place when it is sung. And all of this causes a key moment in the film, the moment that establishes the love/chemistry between Christian and Satine, to fall flat.

Conclusion

Thus, while I highly recommend Moulin Rouge as an enjoyable and unique experience, its value is ultimately lessened by a writer who cluttered the film with unnecessary distractions and yet, failed to concentrate sufficiently on certain key parts.

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