Moulin Rouge

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

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 ****.

Along with Gauguin, Rodin, Seurat, van Gogh, and several others, Henri de Toulouse-Lautrec is regarded as a major contributor to the French art movement of the late 19th century, known as post-impressionism. "Moulin Rouge" (1952) is the somewhat romanticized cinematic version of the life of Toulouse-Lautrec. As a biography, the film is "sketchy"; it focuses mostly on the artist late in his life. Though talented as an artist, an accident in his childhood left him with two stunted legs. At maturity, he was 4 1/2 feet tall. The result was a certain amount of social ostracism. Despite being from a family of wealth, he chose a bohemian life as an adult, and he spent much of his time in the seamy areas of Paris, where he would create sketches, drawings, and paintings in the cabarets and brothels.

As Toulouse-Lautrec, Jose Ferrer, together with the film's screenplay, portray a man who was extremely intelligent, lonely, emotionally isolated, and depressed. Much of the film centers on the Moulin Rouge cabaret, where he would make sketches of the patrons and dancers, and drink excessively.

Ferrer gives a highly credible performance. The film has excellent cinematography and production design, and interesting costumes. The overall tone of "Moulin Rouge" is one of sadness and melancholy, in which a talented but lonely artist eschews luxury, to devote his adult life to his passion for art.

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.

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.