Moulin Rouge!

is a clich-filled love triangle, but the passion and energy portrayed onscreen seem
to breathe life into the familiar plot. It showcases a world that is fast, flashy and filled with things that
make living life worthwhile. This over-the-top musical is not about decadent people, but glorious
romantics who believe in the glitz and glamour. They see Moulin Rouge, the nightclub, not as a place
for self-indulgence, but as a stage for their dreams. The film trails Christian, who escapes his
conservative father to seek his fortunes in the bohemian underworld of Montmartre, Paris. He meets
an alcoholic dwarf artist, Toulouse, who along with his troupe, comes crashing through the ceiling of
the rickety apartment, kindling a friendship and collaboration. Toulouse introduces Christian to a life
of drugs, sex, music, dance and theatre at the Moulin Rouge. The creation of Harold Zidler, this
depraved dance hall and brothel has a star dancer in Satine. As Toulouse and Christian write a show to
highlight Satines brilliance along with truth, beauty, freedom and love, Christian falls into a
tragically doomed romance with the dying Satine. The show must be bankrolled and so enters the
corrupt Duke who wants to pay for the show and Satines favours.

Each of the characters in the Moulin Rouge! can be regarded in their own terms: Toulouse is
extravagant and romantic; Christian is lonesome and lovelorn; Satine, though appears to be a bad girl,
has a good heart; Zidler pretends to be all business, but is good natured and the Duke whose only role
in this production is to be fooled. There are, however, minor quibbles that soil the experience.
Supporting characters are not well developed, like Toulouse for instance, who although is
entertaining, does not contribute much to the narrative. The evil Duke is also somewhat one
dimensional. The two lead characters on the other hand, deserve credit, for their affair is convincing
and the performance, profound. Of all, the hidden gem is Zidler, who successfully manages to be both
vile and charming.

Right from the first frame, Moulin Rouge! is at full force and overpowering such that it does not
even wait for the opening credits to start. The 20th Century Fox logo appears on the screen within a
screen as a tiny bald musician rises from the bottom and fervently conducts the fanfare. The
information on Satines deadly disease is revealed early and hence, there are no unexpected twists or
character disclosures. The plot is thus more about the discoveries and coming to terms of its own
characters rather than playing mind games with its viewers.

Moulin Rouge! appears to be built with the melodrama of a 19th century opera. However, there is
nothing really period about the movie. In fact, it is like a fashion satire happening at present with
music from another century. Surprisingly, the refurbished classics and pop songs from the likes of
Marilyn Monroe, Madonna and Elton John compliment the movie rather well.

In addition, another notable feature of the film is that it moves at a breakneck pace. There is no
breathing room until it slows down towards the tragic ending. The quick-cut editing fills the movie
with moments in which we are frantically jolted and dislodged by some tic or quirk. Though blessed
with spectacular architecture in terms of gorgeous costumes, intricate sets (the giant elephant!) and
outlandishly choreographed dances, these are all paraded with frenzy. There is never the time or space
to look around.

Amongst the musical and visual flamboyance, there is a good balance between the song driven
narrative and dramatic scenes. Although the love story does not take a life of its own, it becomes
poignant in its own way. The tale is obviously a recycled La Boheme in which the characters are
exaggerated, but vibrant. The success of Moulin Rouge! is hence in its style, not substance.