Moulin-Rouge

Whether or not the film accurately portrays the life and personality of Henri de Toulouse-Lautrec correctly, one thing you certainly have to say about "Moulin Rouge" is that it is a gorgeous movie. Not surprisingly, it won two Oscars--for Best Art Direction-Set Decoration, Color and Best Costume Design, Color. I am also a bit surprised it wasn't nominated for Best Cinematography, Color--as the film was exquisitely filmed--giving it a look and color that is second to none. It also received quite a few important nominations--including Best Picture, Best Actor and Best Director (among others). So, it is clearly a standout film for the era. I also suspect that the film might have been overlooked a bit over the years since, as an even more spectacular biopic of a painter, "Lust for Life" gained even more notoriety in 1956. Both films are absolutely gorgeous.

As to the life story of Lautrec, I am far pickier than most because I am a (among other things) a retired history teacher. I look for inaccuracies others might not notice. So, when I see Lautrec brooding CONSTANTLY in the film, I ask why they almost never show him smiling or acting human?! Sure, the real life character was a pathetic man in many ways, but he was a man--a three-dimensional man. Although Jose Ferrer did good in many ways, his performance lacked the fullness of a real man. He got the main and depression quite well--just not anything else. I also think that the film sanitized and over-glamorized Lautrec's relationship with one particular prostitute--whereas the real Lautrec had MANY sexual relationships--many. In the film, however, he hangs out with prostitutes and is quite chaste! Part of this, I am sure, is due to the Production Code. Sure, it was being relaxes in the 1950s--but not THAT much! Overall, a wonderful film but one that isn't perfect--but incredibly beautiful--breathtakingly so. For a great double-feature, try watching this immediately preceding or followed by "Lust for Life".

By the way, I realized why they changed Lautrec's life here and there for dramatic reasons, but he never fell down the steps and broke his legs. The legs actually were very brittle and broke doing much more mundane activities--such as falling out of a chair and breaking one of them. In other words, his genetic problems caused the break and the dwarfism--not some dramatic fall.

A drama/biography/musical from 1952? My wife just wasn't interested. But I insisted that there's no film like the original (i.e. the REAL) "Moulin Rouge." It's a biography of the renown French artist Henri de Toulouse-Lautrec from the 1890s who had very short legs and grew to stand only about 4'11" due to an accident and bone disease. Although he was from an aristocratic family he chose to live alone in Paris to pursue his art career. He would spend time at a local cabaret, Moulin Rouge, where he'd find inspiration for his art, as well as fuel for his increasing alcoholism.

Although Henri (José Ferrer) was brilliant artistically & intellectually, he understandably had a poor self-image due to his dwarfism, which was constantly reinforced by various mean-spirited people. Yet, he discovers love for the first time when he meets a spirited woman bred in the cobblestone jungles of Paris (Colette Marchand). Will this love enhance his life or ultimately poison him? I'll leave that for you to discover.

INTERESTING ITEMS:

• The opening dance hall sequences are highlighted by Katherine Kath (the redhead) and a young Zsa Zsa Gabor.

• José Ferrer is great as the protagonist with his commanding voice and interesting dialogues. His commentaries on life are brilliant and brutally honest, but also cynical.

• The viewer REALLY wants to see Henri find true love, happiness and victory, despite his deformity, but his cynicalism and alcoholism sadly enshroud him.

• The story is both entertaining AND thought-provoking. My wife & I had some good discussions after the film. For instance, real-life people & couples that the story brought to mind, the nature of existence as "unattractive" and unloved, missed opportunities thrown in our laps due to poor self-image and addictions, being a "has-been" and a "continue-to-be", etc.

• There's another significant female character who shows up in the third act, but I'm not sure of her name (in the movie or real life). In any event, the viewer will notice that she's NOT embarrassed to appear with Henri in public like the pathetic Marie Charlet. This is an important part; take note.

Since the film is a biography it could only end one way, but I won't spoil it for you if you're not familiar with the true story.

The film was shot in Paris and England and runs 2 hours.

FINAL WORD: Make no mistake, "Moulin Rouge" is a masterpiece. There's really nothing else like it. It's the perfect antidote to modern 'blockbuster' drek. Disregard the fact that it was released in 1952, particularly if you have a distaste for old movies, as "Moulin Rouge" is a timeless film both hugely entertaining and thought-provoking, not to mention REAL. After watching my wife expressed how much she liked the film and thanked me because she would have never chosen it on her own.

GRADE: A+

It's colorful, it's inspiring, it's striking....it's an artwork come to life. "Moulin Rouge" is an extremely well-made movie about the life of the famous French painter Henri de Toulouse-Lautrec. The first time I saw this movie it automatically became one of my all-time favorites. John Huston, the director of this movie, did an excellent job in depicting the life of Toulouse-Lautrec, a painter who lived a life of hardships yet became one of the most respected painters in the world. The twenty minute opening sequence is outstanding, showing a night at the Moulin Rouge, with its diverse performers. The sets throughout the whole movie are wonderful; you get to see everything from the brightly-lighted Moulin Rouge to the dark alleys of late 19th century Paris. The cinematography is just as wonderful; the shots perfectly capture the dance sequences. The performances are amazing. Jose Ferrer is great in the lead role. In fact, he plays two roles: as the painter Toulouse-Lautrec, and the painter's father--two great performances in one. Also, the actress named Collette Marchand gives a fantastic performance, playing the prostitute named Marie in the movie. Furthermore, it was interesting to see a then-young Zsa Zsa Gabor in this movie. She was actually pretty when she was young. I think that the most notable thing about this movie is how the director focused on Toulouse-Lautrec's sadness. In his moments of deep sadness, the painter was able to produce some of his greatest works of art....in spite of his alcoholism and his overall gloomy life, he made some very colorful paintings. 1952 was a very interesting and noteworthy year for movies. This movie was one of the motion picture highlights from that year. **** out of ****.

I've always had a great affection for this film, although I realized long ago that it has its problems. Most casual viewers and amateur reviewers apparently like it, but it seems to rub some people decidedly the wrong way for various reasons.

Old-fashioned it certainly is, especially when compared to Baz Luhrmann's frenetic rock video-style musical. Though Luhrmann's film is in no way a remake of Houston's, you could legitimately compare the depictions of a night at the Moulin Rouge that occur early in both films. Luhrmann's objective seems to be completely different from Houston's. As flashy and exciting as his images are, the hyper-fast editing and use of pop music from the mid to late 20th century demonstrate absolutely no interest in evoking a sense of the time and place. What I like about Houston's depiction of the Moulin Rouge is the sense of atmosphere, the way a smoky haze can be seen hanging in the air, and the dances seem to more-or-less belong to the era. Interesting, too, is the way images from Toulouse-Lautrec's work are incorporated into this extended scene as he might have originally observed them. Those familiar with his paintings can recognize Moulin Rouge dancers like the tall, bizarre-looking Vincent DeSossier and "La Goulue," looking just as they do in the famous poster, and the sprightly black dancer "Chocolat." Patrons like the two women waltzing together serenely, and a pair of rather reserved Englishmen sitting at a table, are also familiar from the paintings.

I've always found Georges Auric's musical score rather effective. One of "Les Six," the group of avant-garde French composers who pushed the envelope of musical style in the early 20th century, he was a seasoned and sophisticated film composer who worked with Cocteau. Maybe the producers of "Moulin Rouge" thought an authentic French composer suitable for the project, and his score is sec (dry), not the least bit melodramatic, and lyrical in a way that seems to me distinctly French. This musical score may contribute to the reserved, stately, or detached quality that some reviewers see in the film.

For me that sec musical score seems appropriate to Jose Ferrer's portrayal of Toulouse-Lautrec. A pathetic figure, he does not beg us for pity, nor does the film itself turn maudlin or try to manipulate us to tears, which makes the final scene all the more moving. Some of the trick shots showing Ferrer kneeling with shoes stuck to his knees are a bit unfortunate. Too bad they couldn't come up with a better effect for this illusion. As for Zsa-Zsa… Well, nothing's perfect, I guess, but I don't think a touch of kitsch kills this film. Made in the early 1950s, it's not surprising that "Moulin Rouge" avoids the raunchier aspects of turn-of-the-century bohemian life, but I still think it evokes the era admirably. A classic? I don't know, but definitely a classy film that has its staunch admirers, including me.

This romanticized treatment of the life of artist Henri Toulouse-Lautrec is literally one of the most colorful films ever made…

All the hues and colors in the palette go whizzing by in the Parisian streets, country homes, and cabarets of the late 19th century… Can-Can girls in reds and blues, against a misty brown-gold backdrop, flourish their silks and feathers in the face and soul of dwarfed painter who could recreate their essence on canvas, yet never possess them physically…

It is the tragedy of Lautrec's (Jose Ferrer) life which bounces around the rainbow framework… The cruel prostitute (Colette Marchand) to whom he gave his love and the young woman (Suzanne Flon) who befriended the artist motivate the narrative, from the crippling-fall in the home of his father to the death-fall in the dirty-looking saloon…

Brilliant work by Ferrer, fine support by Marchand and Flon, and the gaiety of Zsa Zsa Gabor cap the film