eddyskiva

John Huston's Moulin Rouge is a beautiful but certainly flawed piece of film art. The rousing and incredible opening number is a gem. The set, choreography, cinematography, etc.... all brilliant. Ferrer's performance is understated and fine. I've read other reviewers criticize his mannered speech and performance. I find it exactly in keeping with what this emotionally crippled, defensive genius may very well have presented to the world. Suzanne Flon, as his lost love, lingers in my memory as the epitome of class, beauty, and grace. The vignette's of characters known in Lautrec's paintings is inspired and wonderful. I find the writing careful, considered, well-paced and touching.

Then there are the serious flaws.... almost everyone has mentioned the abominable Zsa Zsa Gabor.... I will only add that I cannot believe the horrible dubbing of what is supposed to be a beautiful song and moment... got into the final film the way it is... What were they thinking? I found Colette Marchand way too broadly played. She wiggles and makes faces constantly, over-communicating every feeling and thought. I find it very amateurish, and certainly not worth her Oscar nomination that followed.

Much has been said of the sets in this film. While I praise the actual interior of the Moulin Rouge set, and a few others, I find this praise very odd. In most of the scenes, there is very little 'set' to be seen. I've always found this film oddly claustrophobic, and I think this is the reason why. It's as if they were running out of money, and couldn't build or shoot more elaborate footage. When Henri takes Marie to a fine restaurant, we essentially only see a curtain in the background, and characters in mid shots. Once again, in a scene where other artists are at a Parisian street café, with Lautrec discussing art... we never once see any full street life, café life, or café itself. There is not one shot showing the complete environment these men are inhabiting. Each is shown in a mid shot or close up, from a slightly higher angle, with the pavement below them, or blurred images in the background. Perhaps this would be helped if someone would please release the film in widescreen? When Henri and Miriam go to the races... we have a few establishing long shots... then it cuts to the usual mid shot with very little real set shown. It's always bothered me that a movie so dependent on time and place... shows so little time and place. The sound throughout the film is muffled also.... there are no real street noises... when people leave the raucous night at the Moulin Rouge, as it closes... they file out almost silently... deadening the effect and the sounds that would really be taking place However, I still list this film as one of my favorites. Poignant and beautifully made. The best flawed work of Huston.

Classic film, understandably it has an honored place in film history... but... having seen it several times.... it dates very badly. Most of the criticism posted here are valid (except the one complaining it was depressing.... um... yes... it's a serious story without a 'happy' ending... that is not a reason to call a film 'bad'). McLaglen's performance is one of the most over the top, hammed up show cases ever put on film. It was all daring and new and interesting in 1935, but not anymore. It's a film I respect, but it's very hard to see through the creaky and old fashioned acting style. John Ford does well, and I reserve opinion on whether he really deserved a Best Direction Oscar for it.... (the lumbering hammy content was, after all, in his hands). Yes, the sets show the low budget, and the characters are very stereotypical.

I love this movie despite it's flaws. Leslie Caron at her best, and beautiful performances from Boyer and Chevalier. Only problem is (again... see my thoughts on other Joshua Logan films)... Joshua Logan. Cumbersome, slow, cartoonish direction, and absolutely horrible dubbing. Fanny's mother is played as a broad cartoon, with bad dubbing. The 'kicking of the hat' game drags on, & provides nothing to the story. Marius and Panisse confronting each other over Fanny, faces profiled, in close up... is agonizingly artificial. Blame all this on Josh Logan... who brings the same lumbering, artificial pace to South Pacific and Camelot. With that said... still one of my favorite movies for the lush photography, score, acting, yearning, lost love, happiness found, wanderlust, etc... I watch it over and over, but I don't recommend it to many others because I know it's a special romantic memory movie for me... others just see the flaws.