And nowhere is the thrill of the underworld more alive than at the Moulin Rouge, a night club where the rich and poor men alike come to be entertained by the dancers, but things take a wicked turn for Christian as he starts a deadly love affair with the star courtesan of the club, Satine.
But her affections are also coveted by the club's patron: the Duke. A dangerous love triangle ensues as Satine and Christian attempt to fight all odds to stay together but a force that not even love can conquer is taking its toll on Satine No Laws.
No Limits. One Rule. Never Fall In Love. Rated PG for sexual content. Did you know Edit. Trivia The necklace worn by Nicole Kidman was made of real diamonds and platinum and was the most expensive piece of jewelry ever specifically made for a film. The Stefano Canturi necklace was made with 1, diamonds, weighing a total of carats and was worth an estimated U. Goofs Satine goes to great time and effort to be bound into a red dress before her meeting with "the Duke".
Why would she then change into the black negligee in which she arrives at the Elephant Room? Quotes Christian : The greatest thing you'll ever learn is just to love and be loved in return.
Crazy credits When the film opens, a orchestra conductor can be spotted conducting the 20th Century Fox fanfare. Abrahams and Craig Armstrong. User reviews 2. Top review. The most original and groundbreaking movie of recent history.
I have seen Moulin Rouge at least 25 times. I think it is the most extraordinary movie of my generation and breaks every limit set by the industry. There, a Bohemian and artistic spirit made and continues to make this part of Paris absolutely charming. Yes, the Moulin Rouge is the heart and blood of Montmartre.
But to really get to know the neighborhood one must take the time to meander around its streets -- and perhaps cross paths with the ghosts of Vincent Van Gogh and Henri de Toulouse-Lautrec! Due to this, the song was ineligible for the Best Song Academy Award, because it was originally written for another film, and not the one it was ultimately put it.
Due to being friends with Luhrmann, he decided to try his luck and audition for the lead role of Christian.
While probably best known as the widow of one Kurt Cobain, Courtney Love is also well known for being lead singer and guitarist for the band Hole, as well as acting in some movies here and there.
Viewers with keen eyes may have noticed this, but it likely escaped notice for almost everyone else. The character of Satie the bald guy who plays the piano is often seeing wearing a very colorful scarf. But it goes deeper than that. Way back when Hollywood was a new and exciting thing, they would make virtually every movie in what is known as a back lot. As the name implies, this was a lot on studio premises where a movie would be shot, most likely in its entirety.
Even in the twenty-first century, movies are still shot and done in studios, though location shooting is a bit more common these days than in the past. Considering the time period and style, this was probably always going to be the case, and it works out wonderfully in the end. Something that can happen with a film— whether shooting on location or in a studio— is that production goes on longer than wanted or expected.
This resulted in Moulin Rouge! She recalls awakening one night in horror, exclaiming to her collaborator and husband: "Oh my God, we're making a can-can movie, Baz! This is a hideous and revolting thing! How are we going to do it? But CM and Baz's design strategies and concepts quickly assuaged any such reservations.
She approached the costumes much as she had the production design: the costumes would reflect the sensationalism and shock of the Moulin Rouge, but for today's audiences. CM and Strathie aimed to capture a fundamental tension between period veracity and creating a world that was seductive, sexy and even a little shocking to a contemporary eye.
Instead, we looked to the glamour of classic film divas like Dietrich and Garbo and Joan Crawford. We also considered Nicole's innate glamour because glamour is so intrinsic to the world we created.
For the dancers, CM and Strathie started with the idea that the can-can was incredibly shocking and sexy, revealing "a world of entertainment under women's dresses. The can-can was also all about the revelation of the girls' petticoats and panties - or lack thereof which made the dance even more popular and scandalous. Strathie and CM came up with a series of petticoats and underpants that were revealing, but not too revealing. Some of the multi-layered undergarments weighed up to thirty pounds, requiring the dancers to wear braces worn on their shoulders to support the costume's weight.
This same attention was lavished on the men's costumes, including Zidler's "fat-suits" fashioned from a full body cast of actor Jim Broadbent , and the period suits worn by Christian, the Duke and Toulouse-Lautrec took a month to hand-tailor. To provide period realism to CM's and Strathie's reinvention of the period, the production crafted the costumes with much attention to detail.
The large costume production team made the costumes in a huge workshop at Fox Studios Australia, with some intricate detail work done in India. Between them, key hair designer Aldo Signoretti and make-up designer Maurizio Silvi have worked with such legendary directors as Bertolucci, Fellini and Visconti. Signoretti's starting point was Toulouse-Lautrec's jarring and lushly theatrical color palette -white, pink, orange, red - acid colors that give the film a modern feel.
As shooting progressed, Signoretti and Silvi's color templates intensified to match the crazy quilt of the set and costume design. For Satine, instead of a 19th century courtesan look, we went for a glamorous, kind of diva from the '40s, with deep red hair in waves and pearly skin.
It would have been all sets and frocks without heads - you simply would have lost them. Luhrmann elaborates: "We live in a world where audiences are not only aware but profoundly bored of the perfection of digital magic. Cameras move perfectly at impossible angles, reality has a beyond-real sharpness.
CM and I gave Chris and the team at Animal Logic visual effects house a commission that we wanted to use digital power not to create perfection but imperfection, to reproduce camera shake, deconstruct imagery and create a sense that this film was hand made. It is an oddity with this project that we spent so much money trying to make things less perfect.
Early in the film's development, CM devised a series of Photoshop collages of turn-of-the-century Paris. Chris Godfrey and his team then built a digital Paris based on these original collages.
The digital shots solved the problem of joining disparate sets into one neighborhood by working right up to edges of what could be done in camera, and then building on that. Godfrey further explains: "We've designed the effects so you travel over a two-dimensional Paris, which then becomes a 3-D model of the city, which is then joined to the one-fifth full scale main hall. Thus with a sweeping single shot we can travel from bourgeois Paris through streets of toothless rabble and up into Christian's garret.
Luhrmann drew inspiration from the methods of some musicals from Hollywood's glory days. He explains: The device of contemporary music set against a period setting was standard fare in the heyday of the musical.
Usually the musical numbers were already familiar to the audience, either by the virtue of having been radio hits or, as in the case of 'No Business Like Show Business' or 'White Christmas', favorites used in more than one production. This allowed the audience to have an immediate emotional connection to these songs.
0コメント