Moulin rouge like a virgin movie scene

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This popularity remained until the television boom in the 70's and 80's, and also due to the fact that more realistic films were being released and people saw the films as unrealistic and fantastical. Busby Berkley was a film director and choreographer who built a reputation as dance director of numerous Broadway shows and early musical films before directing the Warner Brothers' backstage saga Forty-Second Street Berkley perfected the still new technique of synchronizing the filmed image to a pre-recorded soundtrack.

As a result, microphones were not needed during musical sequences, making fluid camera motion and intricate editing possible. Berkley set cameras on custom built booms and overhead views of geometrically arran The fact that the 'baddy' of the film is portrayed as being English is similar.

The Moulin Rouge is all about putting on a show which is what musicals are all about, especially Broadway musical. There is a huge element of romance throughout the film. The film on the other hand is different to typical musicals as there isn't a happy ending. Typical musicals end with, for example, the two main characters getting married or driving off into the sunset, however Moulin Rouge ends with the death of the main female character and love interest, Satine.

What Mr. Luhrmann has done is take the most thrilling moments in a movie musical -- the seconds before the actors are about to burst into song and dance, when every breath they take is heightened -- and made an entire picture of such pinnacles. As a result every moment in the film feels italicized rather than tumescent; ''Moulin Rouge'' has a frenetic innocence that seems almost asexual.

It will speak to the young people who roll DVD's back and forth to their favorite scenes and think in narrative shorthand. That is the way Mr. Luhrmann's mind works. This movie is simultaneously stirring and dispiriting. He meets Lautrec John Leguizamo , who here is a performance artist, as he rehearses a stage production he is calling a ''spectacular spectacular.

Pulled into helping out, the hapless Christian meets Satine Ms.

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Kidman , the dancer who causes him, as they used to say in such pictures, much joy and much pain. When he first beholds Satine, who is called ''the Sparkling Diamond,'' his lips part, and his eyes gleam like jewels; they're glazed with love light.

Luhrmann's directing style is almost a brand of obsessive-compulsive disorder. He has too much to say and grows faint over the prospect of getting all of the thoughts and ideas and words and production numbers out of his head.

Analysis of Movie Moulin Rouge - Words | Help Me

The movie musical was moribund long before the MTV D. Matthew Pinfield ever got in front of a camera. Luhrmann has made the first musical that trumps the achievement of MTV, producing whirlwind excitement on a steady schedule. Every scene in ''Moulin Rouge'' is a trove of jump cuts and flamboyant camera moves; we can only hope that the gifted cinematographer Donald M. McAlpine is paid by the mile. There are a number of elegant touches, starting with the opening credits; Mr.

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Luhrmann reminds us that the stage was the home of the musical, and the first shot of ''Moulin Rouge'' is framed with a proscenium arch as a conductor leads an orchestra through a playing of the 20th Century Fox fanfare. This kind of antic bravura is a lovely, overripe moment, a rare instance in which Mr. Luhrmann slows his picture's heartbeat down to that of, say, a hummingbird's. He starts the film in black and white, evoking the wonderful French films of the 's and 40's in which the cramped streets felt like sets, and moves into Christian's full-color world.

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Heartsick and lost, Christian narrates the story of his unfortunate contact with Satine, who is supposedly wasting away from consumption. Since Ms. Kidman is such a strapping specimen that she could fling Mr. McGregor into the next arrondissement, her imperiled state is hard to swallow, despite the ladylike coughs of blood into her handkerchief.

When she straddles him, you wait for a referee to give a count and fear for his rib cage, which is probably not the intended effect. Christian pines for Satine, but he's not enough for her. It was like a dance between the characters and the water. Both had examples of mise-en-scene and had interesting plot lines. Many can see why both films are highly respected to this day.

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