Moulin Rouge

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.

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 is a film who I love . Not, maybe, for the romanticized story but for truths contained by it. For Jose Ferrer portrait of Toulousse - Lautrec, for the genius ofJohn Houston, for the scene of the fall of La Goulue, for madame Hayam of Suzanne Flon , for the end, music and wise way to define meanings, ordinary ones, of the life. A film just magnificent for so many reasons, nuances and admirable performances.

With the appearance of the 2001 movie entitled "Moulin Rouge" (see review) I went back to the Jose Ferrer version to add a review of it. Note that both films are entirely different in style and purpose; to equate them is to compare apples to pineapples.

This version, so well directed by John Huston, is not a wild frenetic musical but a very touching and moving character study of the great artist Henri Toulose-Lautrec, whose legs were badly mishappen and shortened by an accident early in his life leaving him basically a midget. His frustration at his appearance, and unattractiveness to women, forever scarred his short life that was curtailed by drink and other excess. Jose Ferrer was superb as this tortured yet brilliant soul; Ferrer also played expertly Henri's powerful father descended from French nobility.

"Moulin Rouge" began with a long scene in the club itself filled with dancing, exciting music, beautiful women, good friends,and lots of drink. The sets and costumes and were colorful and beautiful. After about half an hour we follow Henri home - and we see him, alone, so short and vulnerable, walking all alone through the dark streets of Paris. The contrast was most effective. Such was the REALITY of Henri's life. The remainder of the film focused on his unsatisfactory relationship with a prostitute he befriends, along with flashbacks to his privileged wealthy childhood.

Perhaps the most emotional scene was at the end. With Henri dying in his bed his father there tells him that he is the first living artist to be honored by having his work displayed at the Louvre. As he appealed for forgiveness for his previously harsh treatment, saying "I didn't understand", all Henri's old friends from the Moulin Rouge, as spirits (or hallucinations), visited him.

Like with the fine movie about Van Gogh, "Lust for Life", this even better movie is not necessarily always true to historical fact, but it is a cinematic classic.

HIGHLY RECOMMENDED!

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