Moulin Rouge!

I've kept Moulin Rouge in my cupboard of unwatched films for a relatively long time and I'm glad I had the opportunity to see this musical classic on the big screen for the first time, where its qualities stood out all the more. From the very first minutes, we are thrown into a slightly maddening carousel of events interwoven with colourful costumes and sets, amazing singing and dancing sequences, and especially strong and convincing performances of a tragicomic nature. Of the ensemble cast, I was most impressed by Jim Broadbent and Nicole Kidman, who gave unforgettable and supremely plastic creations. I must also praise the plethora of interludes referring to various legendary songs, which surprisingly fit perfectly into the scenes, and the visuals and cinematography referring to different periods or genres of cinema. A film that is a feast for the senses and forms an unmissable gem within its genre. (13/11/2018)

Baz Luhrmann has an amazing ability to turn Moulin Rouge into an unusually intense, emotional, "original", (non-)kitsch spectacle that is just very hard not to succumb to. And I loved the grace with which Moulin Rouge teeters on the edge between total kitsch and riveting emotional spectacle. The choreography, the sets, the costumes, the music, the boldness and inventiveness of the direction, the hauntingly beautiful Nicole Kidman... plainly and simply the prototype of a film that can provide an intense emotional experience from beginning to end. A year earlier, Lars von Trier also made a wannabe musical "his own way", which I coincidentally also gave full marks. The difference is that I was still quite nauseous for a few days after Dancer in the Dark and to this day I have no desire for a second viewing. With this film, I know I will want to watch it again very soon and I definitely won't be nauseous in the "Trier" sense :-) (08/08/2013)

A musical fairy tale about paying homage to the film century. The experience is, of course, deeper if one consciously perceives all the sources of inspiration. Viewers who only suspect something will only grope on the surface. The film features everything from de Toulouse-Lautrec, Méliès, Violetta, Monroe, Madonna, and Queen. Thank you, absinthe fairy. (04/02/2009)

I think I first saw this film on TV when I was fifteen, and as befits that sentimental age, I properly cried. The next day, I already had the soundtrack on MP3 and I didn't listen to anything else for six months. After almost fifteen years, when I am that much older, I had the opportunity to see Moulin Rouge on the big screen as part of the musical package at SFS 2018. My love for this film is obviously undying, because despite having seen it maybe 50 times, I had more fun than ever. The atmosphere in the auditorium was amazing and it was clear that I was surrounded by like-minded fans. Proof of that was the applause that followed the "Like a Virgin" scene. Another amazing moment was when the naively blinded Duke realizes that Christian and Satine are in love, and many people in the room gasped in horror at that moment, and I thought: there are some lucky people who haven't seen the film yet, and I was a little jealous. I thoroughly enjoyed this colourful, kitsch and pompous ride, devouring every moment, singing every song in my head, tapping my foot to every rhythm, laughing at the crazy scenes and shedding a tear at "Your Song" when in the first seconds of Christian's great singing Satine finally shuts up and the night Paris lights up. What else can I praise? The perfect mix of songs, brilliantly performed? The great performances that are moving but also entertaining? The great choreographies? The costumes and sets? I wish I could still raise the rating because Moulin Rouge is perfect and spectacular in every way and I can't wait to watch it again. (04/09/2018)

An absolutely breathtaking spectacle from an editing standpoint, culminating in the incredible "Roxanne" sequence, which is an audiovisual work of art in its own right. For a generally commercial musical with an average shot length of around a second, Luhrmann has my sincere respect, but I guess that's where it ends. Most of the time, the whole concept was a walk through hell – creepy characters, horrible developments, incredibly stupid humor (three penis jokes, hohoho) or horrible plots and subplots built on mistaken identity and allegories. The film exploits each of these endlessly, and even this is not enough, so that after one of the plots is over, the film turns around and repeats it again (Satine and Christian breaking up)! Then, if during the musical numbers you also feel as if you've fallen asleep under a broken jukebox after a bottle of absinthe, with the top 20 most played songs playing over and over again, I welcome you to the therapy of "Moulin Rouge tried to beat me to death." During our first class, your therapy assignment will be to throw the camera through the spinning blades of the mill. We have 30 attempts at this, so you don't have to feel bad about it. The movie sure didn't feel bad about it. (01/11/2018)