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From Wikipedia, the free encyclopedia

Moulin Rouge

The Moulin Rouge in 2011
Address	82 Boulevard de Clichy Paris France
Coordinates	48°53′03″N 2°19′57″E / 48.88417°N 2.33250°ECoordinates: 48°53′03″N 2°19′57″E / 48.88417°N 2.33250°E
Type	Cabaret
Capacity	850
Construction
Opened	6 October 1889; 133 years ago
Architect	Adolphe Willette and Édouard-Jean Niermans
Website
Moulinrouge.fr

Moulin Rouge^[1] (, French: [mulɛ̃ ʁuʒ]; lit. ‘»Red Mill»‘) is a cabaret in Paris, on Boulevard de Clichy, at Place Blanche, the intersection of, and terminus of Rue Blanche.

In 1889, the Moulin Rouge was co-founded by Charles Zidler and Joseph Oller, who also owned the Paris Olympia. The original venue was destroyed by fire in 1915. Moulin Rouge is southwest of Montmartre, in the Paris district of Pigalle on Boulevard de Clichy in the 18th arrondissement, it has a red windmill on its roof. The closest métro station is Blanche.

Moulin Rouge is best known as the birthplace of the modern form of the can-can dance. Originally introduced as a seductive dance by the courtesans who operated from the site, the can-can dance revue evolved into a form of entertainment of its own and led to the introduction of cabarets across Europe. Today, the Moulin Rouge is a tourist attraction, offering predominantly musical dance entertainment for visitors from around the world. The club’s decor still contains much of the romance of fin de siècle France.

History[edit]

Background[edit]

The Belle Époque was a period of peace and optimism marked by industrial progress, and a particularly rich cultural exuberance was present at the opening of the Moulin Rouge. The Expositions Universelles of 1889 and 1900 are symbols of this period.

The Eiffel Tower was also constructed in 1889, epitomising the spirit of progress along with the culturally transgressive cabaret.^[4] Japonism, an artistic movement inspired by the Orient, with Henri de Toulouse-Lautrec as its most brilliant disciple, was also at its height. Montmartre, which, at the heart of an increasingly vast and impersonal Paris, retained a bohemian village atmosphere; festivities and artists mixed with pleasure and beauty as their values.

Creation and early success[edit]

On 6 October 1889, the Moulin Rouge opened as the Jardin de Paris,^[5][6][7] an outdoor garden café-conçert,^[8] at the foot of the Montmartre hill. Its creator Joseph Oller and his Manager Charles Zidler were formidable businessmen who understood the public’s tastes. The aim was to allow the very rich to come and ‘slum it’ in a fashionable district, Montmartre. The extravagant setting – the garden was adorned with a gigantic elephant – allowed people from all walks of life to mix. Workers, local residents, artists, the middle classes, businessmen, elegant women, and foreigners passing through Paris rubbed shoulders. Nicknamed «The First Palace of Women» by Oller and Zidler, the cabaret quickly became a great success.
The ingredients for its success:^[1]

• A revolutionary architecture for the auditorium that allowed rapid changes of décor and where everyone could mix;
• Festive champagne evenings where people danced and were entertained thanks to amusing acts that changed regularly, such as Le Pétomane;
• A new dance inspired by the quadrille which becomes more and more popular: The Can-can, danced to a furious rhythm by dancers in titillating costumes;
• Famous dancers whom history still remembers: la Goulue, Jane Avril, la Môme Fromage, Grille d’Egout, Nini Pattes en l’Air, Yvette Guilbert, Valentin le désossé, and the clown Cha-U-Kao;
• A place loved by artists, including Toulouse-Lautrec whose posters and paintings secured rapid and international fame for the Moulin Rouge.

Greatest moments[edit]

• The early years of the Moulin Rouge are marked by extravagant shows, inspired by the circus, and attractions that are still famous such as Pétomane. Concert-dances are organised every day at 10pm.
• 1886–1910: Footit and Chocolat, a comic act of a white, authoritarian clown and a black, long-suffering Auguste, are very popular and often appear on the Moulin Rouge poster.
• 19 April 1890: 1st review, «Circassiens et Circassiennes».
• 26 October 1890: the Prince of Wales, the future Edward VII, who on a private visit to Paris, booked a table to see this quadrille whose reputation had already crossed the Channel. Recognising him, La Goulue, with her leg in the air and her head in her skirts, spontaneously called out «Hey, Wales, the champagne’s on you!».
• 1891: La Goulue: Toulouse-Lautrec’s first poster for the Moulin Rouge.
• 1893: The «Bal des Quat’z’Arts» caused a scandal with its procession of a nude Cleopatra surrounded by young naked women.
• 12 November 1897: The Moulin Rouge closed its doors for the first time for the funeral of its manager and cofounder, Charles Zidler. Yvette Guilbert paid him homage saying, «You have the knack of creating popular pleasure, in the finest sense of the word, of entertaining crowds with subtlety, according to the status of those to be entertained».
• 1900: visitors from around the world, attracted by the Universal Exhibition, flock to the «Moulin Rouge». This gave Paris a reputation as a city of decadent pleasure. In many other countries imitation «Moulin Rouges» and «Montmartres» sprang up.

Operetta and grand shows[edit]

• January 1903: the Moulin Rouge reopened after renovation and improvement work carried out by Édouard Niermans, the most «Parisian» architect of the Belle Époque (amongst other works he designed the brasserie Mollard, the Casino de Paris, the Folies Bergère in Paris, the Palace Hôtel in Ostend in Belgium, the rebuilding of the Hôtel du Palais in Biarritz, and the creation of the Hotel Negresco on the Promenade des Anglais in Nice). First aperitif concert, where the elite of the fashionable world met for dinner and a show in a setting more beautiful and comfortable than any that existed elsewhere.
• Until the First World War, the Moulin Rouge became a real temple of operetta. Further successful shows follow: Voluptata, La Feuille de Vigne, le Rêve d’Egypte, Tais-toi tu m’affoles and many others, each with a more evocative title than the last.
• 3 January 1907: during the show le Rêve d’Egypte, Colette exchanged kisses that showed her links with the Duchess of Morny. Deemed to be scandalous, the show was banned.
• 29 July 1907: first appearance of Mistinguett on stage at the Moulin Rouge in the Revue de la Femme. Her talent was immediately obvious. The following year she had a huge success with Max Dearly in la Valse chaloupée.
• Mistinguett was born in poverty and had an undeniably quick wit. She wanted to build her own life and said «the poor suburbs, it’s not enough just to want to get out. I had a talent: life. All the rest remains to be done, to be thought about. I couldn’t allow myself just to be a beautiful animal, I had to think of everything». A peerless businesswoman, she first listened carefully then captivated. She lived wholly for her art, and toured Europe and the United States.
• 9 April 1910: A former lady-in-waiting to the Empress Eugénie attended a showing of the Revue Amoureuse at the Moulin Rouge. She was so enchanted by the faithful recreation of the ceremony for the return of the troops from Italy that she could not stop herself from calling out «Long Live the Empress!»
• 27 February 1915: the Moulin Rouge was destroyed by fire.
• 1925: The rebuilt Moulin Rouge reopened.

Mistinguett years[edit]

• After World War I, Francis Salabert took charge of the Moulin Rouge. A businessman rather than a showman, he gave Jacques-Charles, the leading impresario of the time, the task of reinvigorating the cabaret. The Moulin Rouge took off again, thanks to stars such as Mistinguett, Jeanne Aubert, and Maurice Chevalier, and gave the first showing in Paris of American revues with the Hoffmann Girls.
• In 1923, composer and conductor Raphaël Beretta, who directed the Folies Bergères, the Olympia and the Casino de Paris, proposed to rebuild the music hall of the Moulin Rouge in a large construction. The mill rose in the middle of the facade supported by a round part decorated at the top with oval dormers.
• Gesmar, aged 20, became set designer. His drawings and models will always be associated with the image of the Moulin Rouge.
• Jacques-Charles and Mistinguett were the originators of:
  • 1925 : la Revue Mistinguett
  • 1926 : Ça c’est Paris
  • 1928 : Paris qui tourne
• An incident occurred during the 1927 show when female dancers were meant to pop out of huge multi-tiered artificial cakes covered in real frosting. When the girls descended to the stage, the soles of their high heels got doused in cake cream which proved extremely slippery and caused them to constantly slip and fall on stage, ruining the whole show.^[9]
• At the Moulin Rouge, Mistinguett created many enduring songs, including «Valencia», «Ça c’est Paris», both by Jose Padilla, «Il m’a vue nue», «On m’ suit», «La Java de Doudoune», the latter with Jean Gabin.

After Mistinguett[edit]

• 1929: Mistinguett retires from the stage and leaves the Moulin Rouge.
• After her departure, the ballroom is transformed into the most ultra-modern Night Club of the time.
• June – August 1929: the revue Lew Leslie’s Blackbirds, starring jazz singer and Broadway star Adelaide Hall,^[10] with a troop of a hundred black artists accompanied by the Jazz Plantation Orchestra, opens at the Moulin Rouge and becomes the hit of the season.^[11]
• 1937: the Cotton Club, all the rage in New York, is put on at the Moulin Rouge; Ray Ventura and his Collegians also appear.
• 1939–1945 Second World War. The German Occupation Guide aryien counts the Moulin Rouge among the must visits in Paris.^[12] Its famous stage shows continued for the occupation troops, which are mentioned in various autobiographies of German officers, such as Ernst Jünger, Gerhard Heller and others.^[13] The Germans used the motto «Jeder einmal in Paris» (everyone once in Paris) to provide ‘recreational visits’ in Paris for its troops.^[14] The intensive prostitution during the occupation made way for the Loi de Marthe Richard (1946), which closed the bordellos and reduced stage shows to dancing events.
• 1944: a few days after the liberation of Paris, Edith Piaf, who had been a frequent performer at German Forces social and bordello gatherings during the Second World War, and had been considered a traitor by many, performs again at the Moulin Rouge, with Yves Montand, a newcomer chosen to appear with her.

Renewal[edit]

• 22 June 1951: Georges France, called Jo France, founder of the Balajo (rue de Lappe, Paris), acquires the Moulin Rouge and starts major renovation work. He gives architects Pierre Devinoy, Bernard de La Tour d’Auvergne and Marion Tournon-Branly the task of improving and fitting out the new auditorium. The décor envisaged by Jo France and largely realized by Henri Mahé, one of the most fashionable designers of the day, has lasted and is still in place.
• The evening dances, the acts, and the famous French cancan are back at the Moulin Rouge.
• 19 May 1953: the 25th «Bal des Petits Lits Blancs», organised by the novelist Guy des Cars, takes place at the Moulin Rouge in the presence of the French President, Vincent Auriol, and it includes, for the first time on a European stage, Bing Crosby. The evening attracts 1,200 artists and stars from around the world, including Josephine Baker who sings «J’ai deux amours».
• Between 1951 and 1960, a succession of famous artists appears: Luis Mariano, Charles Trénet, Charles Aznavour, Line Renaud, Bourvil, Fernand Raynaud, Lena Horne.
• 1955: Jo France transfers the Moulin Rouge to the brothers Joseph and Louis Clérico who already own Le Lido.^[15] Jean Bauchet becomes Manager. The famous French cancan is still performed, soon to be choreographed by Ruggero Angeletti.
• 1957: Doris Haug creates the «Doriss Girls» troop at the Moulin Rouge. Initially four girls, the troop has eventually grown to sixty.
• 1959: the Moulin Rouge is transformed with new kitchens.
• 1960 The Revue Japonaise, entirely composed of Japanese artists, launches the Kabuki in Montmartre.
• 1962: Jacki Clérico, son of Joseph Clérico, takes control of the Moulin Rouge.^[15] It is the start of a new era: Enlargement of the auditorium, installation of a giant aquarium, and the first aquatic ballet
• 1962: Revue Cancan, devised by Doris Haug and Ruggero Angeletti.
• Since 1963 and the success of the Frou-Frou revue, out of superstition Jacki Clérico chooses only revue titles that start with the letter F. Naturally, the famous French cancan is performed at every revue.^[16]
  • 1963–1965 : Frou-Frou
  • 1965–1967 : Frisson
  • 1967–1970 : Fascination
  • 1970–1973 : Fantastic
  • 1973–1976 : Festival
  • 1976–1978 : Follement
  • 1978–1983 : Frénésie
  • 1983–1988 : Femmes, femmes, femmes
  • 1988–1999 : Formidable
  • Since 1999: Féerie
• 7 September 1979: the Moulin Rouge, again the centre of Paris night life, celebrates its 90th birthday. On stage, for the first time in Paris, Ginger Rogers is surrounded by various stars including Thierry Le Luron, Dalida, Charles Aznavour, Jean-Claude Brialy, George Chakiris, the Village People, Zizi Jeanmaire.
• 23 November 1981: the Moulin Rouge closes for one evening to present its show to Her Majesty Queen Elizabeth II.
• 4 February 1982: one-off show with Liza Minnelli.
• 3 July 1984: gala with Dean Martin.
• 25 September 1984: gala with Frank Sinatra.
• 1 December 1986: the world’s most famous classical dancer, Mikhail Baryshnikov, created an original ballet by Maurice Béjart at the Moulin Rouge.
• 20 February 1988: Although the original building had burned down in 1915, the Moulin Rouge turns 100. The premier of the revue Formidable is a «Royal Variety Performance in Paris», a prestigious official event in Britain attended each year in London by a member of the Royal Family. For the second time, the show took place in France, at the Moulin Rouge. Presided over in 1983 by Princess Anne, on 20 February 1988 Prince Edward was the guest of honour.
• Spring 1989: one-off performance by the Moulin Rouge in London before the Prince and Princess of Wales.
• 6 October 1989: Centenary gala with Charles Aznavour, Lauren Bacall, Ray Charles, Tony Curtis, Ella Fitzgerald, Gipsy Kings, Margaux Hemingway, Barbara Hendricks, Dorothy Lamour, Jerry Lewis, Jane Russell, Charles Trénet, and Esther Williams.
• 1994: Cartier gala in aid of the Artists’ Foundation against AIDS with a private concert by Elton John.
• 1995: Lancôme gala – launch of the perfume «Poème» with Juliette Binoche. Private concert with Charles Aznavour and Jessye Norman.
• 14 November 1999: last showing of the Centenary revue Formidable, seen by more than 4.5 million spectators between 1988 and 1999.
• 23 December 1999: first showing of the new revue Féerie.
• 24 May 2008: soloist dancer Aleksandar Josipović was master of ceremonies at the 53rd Eurovision Song Contest
• February 2009: for the Year of France in Brazil, and as part of the Rio Carnival, the Moulin Rouge is produced on Copacabana Beach.
• 13 January 2013: Moulin Rouge owner Jacki Clérico dies.^[15]
• 10 August 2014: Mistress du ballet Moulin Rouge since 1957, founder of the Doriss girls (Doris Haug) dies.^[17]
• 6 October 2014: Moulin Rouge celebrates its 125th anniversary.

Documentaries[edit]

• Quadrille dansé par les étoiles du Moulin-Rouge 1,2&3 (1899–1902), France – produced by Pathé (3 episodes of 20 min)
• An Evening at the Moulin Rouge (1981), Réalisé par David Niles, produced by HBO (length : 60 min)
• Les Dessous du Moulin Rouge (2000), Réalisé par Nils Tavernier, produced by Little Bear (length  : 52 min)
• Coulisses d’une revue, le Moulin Rouge (2001), directed by par Philippe Pouchain and Yves Riou (length  : 60 min)
• Moulin Rouge Forever (2002), directed by Philippe Pouchain and Yves Riou (length: 55 min)
• Moulin Rouge : la restauration and Une vie de passion au Moulin Rouge. Two documentaries available with the Moulin Rouge movie of John Huston.
• Au cœur du Moulin Rouge (At the heart of Moulin Rouge) (2012), Directed by Marie Vabre, produced by 3e Œil Productions (90 min).

Books[edit]

Illustrated books[edit]

• The Moulin Rouge (1989), by Jacques Pessis and Jacques Crépineau – Publisher: St Martins
• The Moulin Rouge (2002), by Jacques Pessis and Jacques Crépineau – Publisher: Le Cherche-Midi
• Moulin Rouge, Paris (2002), by Christophe Mirambeau – Publisher: Assouline
• Flipbook Moulin Rouge Paris France 23h18, Paris (2003), by Jean-Luc Planche – Publisher: Youpeka

About Moulin Rouge and its characters[edit]

• Duret, Théodore (1920). Lautrec. Paris: Bernheim-Jeune – via archive.org.
• Pierre La Mure Moulin Rouge (1950), a novel based on the life of Henri de Toulouse-Lautrec, Random House
• Jose Shercliff Jane Avril of the Moulin Rouge (1954), Macrae Smith Co
• Jean Nohain and François Caradec Le Pétomane 1857–1945 a tribute to the unique act which shook and shattered the Moulin-Rouge (1967), Souvenir Press
• Robert Burleigh Toulouse-Lautrec : The Moulin Rouge And The City Of Light, (2003), Harry N. Abrams

Legacy[edit]

Enterprises[edit]

The Moulin Rouge in Paris was a source of inspiration for:

• Moulin Rouge Hotel in Las Vegas, Nevada
• The nude revues at the Windmill Theatre, created by Laura Henderson and Vivian Van Damm

Film[edit]

• Moulin Rouge Dancers 1&2 (1898) – United States – silent film about the Moulin Rouge
• Queen of the Moulin Rouge (1922), directed by Ray C. Smallwood and Peter Milne – United States – silent film about the Moulin Rouge
• Le Fantôme du Moulin Rouge (1925), directed by René Clair – with Sandra Milowanoff and Georges Voltier
• Moulin Rouge (1928), directed by Ewald André Dupont – With Olga Tschechowa, Eve Gray and Jean Bradin
• Moulin Rouge also titled L’étoile du Moulin Rouge (1934), directed by Sidney Lanfield – with Constance Bennett – United States
• La Chaste Suzanne (1937/1938), directed by André Berthomieu – with Raimu and Henri Garat
• La P’tite femme du Moulin Rouge (1945), directed by Benito Perojo – with Alberto Bello, Héctor Calcaño, Homero Cárpena, Tilda Thamar
• A Night at the Moulin Rouge (1951) is a film (also circulated under the title Ding Dong!) of burlesque acts of the Moulin Rouge club in Oakland, California
• Moulin Rouge (1952), directed by John Huston- with José Ferrer, Suzanne Flon and Zsa Zsa Gabor
• French Cancan (1955), directed by Jean Renoir – with Jean Gabin, Françoise Arnoul, María Félix, Jean-Roger Caussimon, Gianni Esposito, Philippe Clay, and Michel Piccoli
• A Night at the Moulin Rouge (1957), directed by Jean-Claude Roy – with Tilda Thamar, Noël Roquevert, Armand Bernard and Jean Tissier
• La Chaste Suzanne (1963), directed by Luis César Amadori – with Armand Mestral, Noël Roquevert and Frédéric Duvallès – Spain/France
• Moulin Rouge! (2001), directed by Baz Luhrmann, with Ewan McGregor, Nicole Kidman, John Leguizamo, Jim Broadbent, and Richard Roxburgh
• Midnight in Paris (2011), directed by Woody Allen, with Owen Wilson, Marion Cotillard, Rachel McAdams, Tom Hiddleston, Corey Stoll, Kathy Bates, and Adrien Brody — Spain, US

Music[edit]

• The music video for the «Lady Marmalade» cover act by Christina Aguilera, Pink, Lil’ Kim, and Mýa was in a set replica of the Moulin Rouge
• Prince and his concert film Sign o’ the Times (1987) featured the Moulin Rouge as part of his stage venue and props
• The second music video for The Killers’ song «Mr. Brightside» was set in the Moulin Rouge

Stage adaptations[edit]

• The 2018 musical Moulin Rouge! is an adaptation of the 2001 Baz Luhrmann film.

See also[edit]

• Absinthe
• Cabaret Red Light
• Jubilee!
• Paradis Latin
• Peepshow
• Sirens of TI
• Tropicana Club

References[edit]

External links[edit]

• Moulin Rouge official website in English
• Moulin Rouge official website in French
• Moulin Rouge — 42 Early Postcards at CPArama
• La danseuse du Moulin leshumanites Art+CultureDéveloppement
• História do Moulin Rouge
• Moulin Rouge in Times Square — New York Post
• Les 125 ans du Moulin Rouge — Radio France Internationale

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Перевод «Мулен Руж» на английский

Превращение клуба Мулен Руж в театр стоит очень больших денег.

The conversion of the Moulin Rouge into a theater will cost a fantastic sum of money.

В Мулен Руж мы пили шампанское до десяти часов утра.

In Moulin Rouge, we drank champagne until ten o’clock in the morning.

Другой известной достопримечательностью здесь является Мулен Руж, расположенного на границе 9 округе.

Another famous sight here is the Moulin Rouge, located at the border of the 9th arrondissement.

Считается, что Мулен Руж был местом возникновения кабаре.

It is believed that Moulin Rouge was the place where cabaret originated.

Я действительно ожидала пения и танцев на шоу кабаре Мулен Руж.

I was really just expecting singing and dancing at the Moulin Rouge cabaret show.

Он является единственным сербом, который когда-либо танцевал на сцене Мулен Руж…

He is the only man from Serbia that has ever played on Moulin Rouge stage.

Давайте досмотрим Мулен Руж пока не устали.

Let’s finish watching Moulin Rouge before we lose power again.

Одно из самых знаменитых кабаре в Париже это Мулен Руж.

One of the most famous shows in Paris is the Moulin Rouge.

До кабаре Мулен Руж — всего 400 метров.

The Moulin Rouge is just 400 metres away from the property.

Анс, я был так разочарован, когда она не выиграла оскар для Мулен Руж…

Ans I was so disappointed when she didn’t won an oscar for Moulin Rouge…

Здание было полностью реконструировано между 1999 и 2001 годами; сегодня здесь находится Мулен Руж, роскошный ночной клуб.

The building was fully reconstructed between 1999 and 2001; today it gives home to the Moulin Rouge, a luxury night club.

Всё, продолжаем смотреть Мулен Руж.

Мулен Руж — это словосочетание, которое будоражит воображение и вырисовывает перед глазами самые яркие образы.

Moulin Rouge is the phrase, which excites the imagination and drawsthe most vivid images before my eyes.

Ей не нравится «Мулен Руж«.

Он постоянно заставлял меня смотреть «Мулен Руж«.

Мулен Руж делал реальным то, чего казалось бы не может существовать, будучи своеобразным апогеем авангарда и сюрреализма.

Moulin Rouge was doing real things that seemingly can not exist, being a kind of apogee of the avant-garde and surrealism.

Рассматривается как один из лучших десяти фильмов всех времен, «Мулен Руж» — это романтический мюзикл.

Regarded as one of the top ten movies of all time, Moulin Rouge is a romantic musical.

«Мулен Руж» я в свое время пересмотрела с десяток раз.

Когда задумываешься об историческом наследии «Мулен Руж», в памяти легко всплывают несколько имён.

When considering the Moulin Rouge’s historical legacy, several names spring easily to mind.

У него сломано ребро во время репетиции танцевальной программы для фильма Мулен Руж (2001).

Suffered a broken rib while rehearsing a dance routine for the movie Moulin Rouge (2001).

Ничего не найдено для этого значения.

Результатов: 423. Точных совпадений: 393. Затраченное время: 114 мс

Documents

Корпоративные решения

Спряжение

Синонимы

Корректор

Справка и о нас

Индекс слова: 1-300, 301-600, 601-900

Индекс выражения: 1-400, 401-800, 801-1200

Индекс фразы: 1-400, 401-800, 801-1200

The manager of the Moulin Rouge complained again. Чаевых не давайте. И чек не забудьте мне принести! I cannot paint his fields… but he cannot paint my girls of the Moulin Rouge. Я не пишу поля. А он — девушек из «Мулен Руж». But doesn’t it make the Moulin Rouge seem a little small? Но это совсем не похоже на «Мулен Руж». I know I’m making millions, but I liked the Moulin Rouge as she was: Lightheaded and hot-blooded. Я сделаю миллионы, но мне нравится «Мулен Руж» прошлого, где кипели страсти. I was the star of the Moulin Rouge! Я была звездой «Мулен Руж». Maxim’s, Moulin Rouge, Pre Catalan. Максим, Мулен Руж, Пре Каталан. Do you think I’d take you to «Moulin Rouge» otherwise? Неужели вы думаете, что я бы привёл вас в «Мулен Руж», если бы это был розыгрыш? We end where we started, at the Moulin Rouge. Это значит, что если у нас всё началось в «Мулен Руж», то здесь и закончится. That’s La Goulue, who dances at the Moulin Rouge. Это Ла Гулю. Она задирает ноги в «Мулен Руж». The Moulin Rouge. Мулен Руж. — The Moulin Rouge! — Мулен Руж! and she was the star… of the Moulin Rouge. Он была звездой… клуба Мулен Руж. I knew nothing of the Moulin Rouge, Harold Zidler… or Satine. Я ничего не знал ни о Мулен Руж, ни о Гарольде Зидлере… ни о Сатин.. You’ll end up wasting your life at the Moulin Rouge… with a cancan dancer! Ты потратишь свою жизнь зря в Мулен Руж… С танцовщицами канкана! — No, I can’t write the show for the Moulin Rouge! — Нет, я не могу! — Почему нет? We were off to the Moulin Rouge. — Со звуками музыки революции… — Мы отправились в Мулен Руж. Moulin Rouge! — Мулен Руж! But I can see some lonely Moulin Rouge dancers… looking for a partner or two! Но я вижу несколько одиноких танцовщиц Мулен Руж… которые ищут партнера или двух! The conversion of the Moulin Rouge into a theater will cost a fantastic sum of money. Превращение клуба Мулен Руж в театр стоит очень больших денег. I shall require the deeds to the Moulin Rouge. Свои вложения в Мулен Руж. I shall hold the deeds to the Moulin Rouge. Я продолжу обеспечивать вложения в Мулен Руж. Good. Now that we have an understanding, it would appear that, uh, you have the means… to transform your beloved Moulin Rouge— Хорошо, теперь, когда мы достигли взаимопонимания…. похоже, что Вам придется… превратить ваш любимый Мулен Руж The Duke holds the deeds to the Moulin Rouge. Герцог вкладывает деньги в Мулен Руж. We’re going away from you, away from the Duke, away from the Moulin Rouge! Мы уедем от тебя, уедем от герцога, уедем от Мулен Руж. — The Moulin Rouge is my home. — Мулен Руж — мой дом. So I returned… to the Moulin Rouge… one… last… time. Я вернулся…. В Мулен Руж… в … последний … раз. -She didn’t like Moulin Rouge. — Ей не нравится «Мулен Руж». Moulin Rouge was a litmus. «Мулен Руж» был лакмусовой бумажкой. Oh, and did you like Moulin Rouge? О, а тебе нравится «Мулен Руж»? The Moulin Rouge… Мулен Руж…

Moulin Rouge!
Theatrical release poster
Directed by	Baz Luhrmann
Written by	Baz Luhrmann Craig Pearce
Produced by	Martin Brown Baz Luhrmann Fred Baron
Starring	Nicole Kidman Ewan McGregor John Leguizamo Jim Broadbent Richard Roxburgh
Cinematography	Donald M. McAlpine
Edited by	Jill Bilcock
Music by	Craig Armstrong
Production company	Bazmark Productions
Distributed by	20th Century Fox
Release dates	9 May 2001 (Cannes)[1] 18 May 2001 (U.S.)[1] 25 May 2001 (Australia)[2]
Running time	128 minutes[3]
Countries	Australia[4] United States[4]
Language	English
Budget	$50 million[5]
Box office	$179.2 million[5]

Moulin Rouge! (, French: [mulɛ̃ ʁuʒ]^[6]) is a 2001 jukebox musical romantic drama film directed, produced, and co-written by Baz Luhrmann. It follows a young English poet, Christian, who falls in love with the star of the Moulin Rouge, cabaret actress and courtesan Satine. The film uses the musical setting of the Montmartre Quarter of Paris and is the final part of Luhrmann’s «Red Curtain Trilogy,» following Strictly Ballroom (1992) and Romeo + Juliet (1996). A co-production of Australia and the United States, it features an ensemble cast starring Nicole Kidman and Ewan McGregor, with John Leguizamo, Jim Broadbent, Richard Roxburgh, Jacek Koman and Caroline O’Connor featured in supporting roles.

Moulin Rouge! premiered at the 2001 Cannes Film Festival, where it competed for the Palme d’Or^[7] and was released in theaters on 18 May 2001 in North America and on 25 May 2001 in Australia. The film was praised for Luhrmann’s direction, the performances of the cast, its soundtrack, costume design, and production values. It was also a commercial success, grossing $179.2 million on a $50 million budget. At the 74th Academy Awards, the film received eight nominations, including Best Picture, and won two (Best Production Design and Best Costume Design). In BBC’s 2016 poll of the 21st century’s 100 greatest films, Moulin Rouge! ranked 53rd.^[8] A stage musical adaptation premiered in 2018.

Plot[edit]

In 1900 in Paris, Christian, a young writer depressed about the recent death of the woman he loved, begins writing their story on his typewriter.

A year earlier, he arrives in the Montmartre district of Paris to join the Bohemian movement. He suddenly meets Henri de Toulouse-Lautrec and his troupe of performers who are writing a play called Spectacular Spectacular. After Christian helps them complete the play, they go to the Moulin Rouge where they hope Christian’s talents will impress Satine, the star performer and courtesan, who will in turn convince Harold Zidler, the proprietor of the Moulin Rouge, to let Christian write the show. However, Zidler plans to have the wealthy, powerful and unscrupulous Duke of Monroth sleep with Satine in exchange for potential financing to convert the club into a theater.

That night, Satine mistakes Christian for the Duke and attempts to seduce him by dancing with him before retiring to her private chamber with him to discuss things privately, but eventually Christian reveals his true identity. After the Duke interrupts them, Satine claims that the two of them and the Bohemians were rehearsing Spectacular Spectacular. Aided by Zidler, Christian and the Bohemians improvise a story for the Duke about a beautiful Indian courtesan who falls in love with a poor sitar player she mistook for an evil maharaja. Approving the story, the Duke agrees to invest, but only if Satine and the Moulin Rouge are turned over to him. Later, Satine claims not to be in love with Christian, but he eventually wears down her resolve and they kiss.

During construction at the Moulin Rouge, Christian and Satine’s love deepens while the Duke becomes frustrated with all the time he thinks Satine is spending with Christian working on the play. To calm him, Zidler arranges for Satine to spend the night with the Duke and angrily tells her to end their affair. She misses the dinner when she falls unconscious, leading a doctor to diagnose a fatal case of consumption. She does try to end things by telling Christian that their relationship is endangering the production, but Christian writes a secret song to include in the show that affirms their unending, passionate love.

At the final rehearsal, Nini, a can-can dancer jealous of Satine’s popularity, hints to the Duke that the play represents the relationship between him, Christian, and Satine. Enraged, the Duke demands that the show ends with the courtesan marrying the maharaja, instead of Christian’s ending where she marries the sitar player. Satine promises to spend the night with him after which they will decide on the ending. Ultimately, she fails to seduce the Duke due to her feelings for Christian, and Le Chocolat, one of the cabaret dancers, saves her from the Duke’s attempt to rape her. Christian decides that he and Satine should leave the show behind and run away to be together while the Duke vows to kill Christian.

Zidler finds Satine in her dressing room packing. He tells her that her illness is fatal and that the Duke is planning on murdering Christian, and that if she wants Christian to live, she will cut him off completely and be with the Duke. Mustering all her acting abilities, she complies, leaving Christian devastated.

On the opening night of the show, in front of a full audience, Christian denounces Satine and vows to give her to the Duke before walking off the stage, but Toulouse-Lautrec cries out from the rafters, «The greatest thing you’ll ever learn is just to love and be loved in return.» This spurs Satine to sing their secret song, causing Christian to change his mind. After Zidler and the company thwart several attempts by the Duke and his bodyguard to kill Christian, the show ends with Christian and Satine proclaiming their love as the Duke permanently storms out of the cabaret. The audience erupts in applause, but Satine collapses after the curtains close. Before dying, she tells Christian to write their story so she will always be with him.

In the present, the Moulin Rouge is in disrepair, the Duke and the Bohemians are gone, and Christian finishes his and Satine’s story, declaring their love will live forever.

Cast[edit]

Production[edit]

Writing and inspiration[edit]

Moulin Rouge! was influenced by an eclectic variety of comic and melodramatic musical sources, including the Hollywood musical, «vaudeville, cabaret culture, stage musicals, and operas.» Its musical elements also allude to Luhrmann’s earlier film Strictly Ballroom.^[10]

Giacomo Puccini’s opera La bohème, which Luhrmann directed at the Sydney Opera House in 1993, was a key source of the plot for Moulin Rouge!.^[11] Further stylistic inspiration came from Luhrmann’s encounter with Bollywood films during his visit to India while conducting research for his 1993 production of Benjamin Britten’s opera A Midsummer Night’s Dream.^[12] According to Luhrmann:

. . . we went to this huge, ice cream picture palace to see a Bollywood movie. Here we were, with 2,000 Indians watching a film in Hindi, and there was the lowest possible comedy and then incredible drama and tragedy and then break out in songs. And it was three-and-a-half hours! We thought we had suddenly learnt Hindi, because we understood everything! We thought it was incredible. How involved the audience were. How uncool they were – how their coolness had been ripped aside and how they were united in this singular sharing of the story. The thrill of thinking, ‘Could we ever do that in the West? Could we ever get past that cerebral cool and perceived cool.’ It required this idea of comic-tragedy. Could you make those switches? Fine in Shakespeare – low comedy and then you die in five minutes. . . . In Moulin Rouge!, we went further. Our recognisable story, though Orphean in shape, is derived from Camille, La Boheme – whether you know those texts or not, you recognise those patterns and character types.^[13]

In the DVD’s audio commentary, Luhrmann revealed that he also drew from the Greek tragedy of Orpheus and Eurydice. The filmmakers projected the Orpheus figure onto Christian by characterizing the latter as a musical genius whose talent surpassed that of everyone else in his world. The film’s use of songs from the mid- to late 20th century in the 1899 setting makes Christian appear ahead of his time as a musician and writer. Moulin Rouge!′s plot also parallels that of the myth: «McGregor, as a poet who spouts deathless verse . . . , descends into a hellish underworld of prostitution and musical entertainment in order to retrieve Kidman, the singing courtesan who loves him but is enslaved to a diabolical duke. He rescues her but looks back and . . . cue Queen’s ‘The Show Must Go On.'»^[14]

Commentators have also noted the similarities between the film’s plot and those of the opera La Traviata^[15] and Émile Zola’s novel Nana.^[16] Other cinematic elements appear to have been borrowed from the musical films Cabaret,^[17] Folies Bergère de Paris, and Meet Me in St. Louis.^[18]

The character of Satine was based on the French can-can dancer Jane Avril.^[19] The character of Harold Zidler shares his last name with Charles Zidler, one of the owners of the real Moulin Rouge. Satie was loosely based on the French composers Erik Satie and Maurice Ravel. Môme Fromage, Le Pétomane, and Le Chocolat share their names with performers at the actual cabaret. Marlene Dietrich, Greta Garbo and Rita Hayworth were cited as inspirations for the film’s «look.»^[18]

Development[edit]

Leonardo DiCaprio, who worked with Luhrmann on Romeo + Juliet, auditioned for the role of Christian.^[20] Luhrmann also considered younger actors for the role, including Heath Ledger and Jake Gyllenhaal, before Ewan McGregor won the part. Courtney Love auditioned for the role of Satine and gave approval for «Smells Like Teen Spirit» to be used in the film.^[21]

Filming[edit]

Production began in November 1999 and was completed in May 2000,^[22] with a budget of $50 million.^[5] It was shot on the sound stages at Fox Studios in Sydney.^[23] Filming generally went smoothly, but Kidman broke her ribs twice when she was lifted into the air during the dance sequences. She also suffered from a torn knee cartilage resulting from a fall during the «Diamonds Are a Girl’s Best Friend» production song.^[18] Kidman later stated in an interview with Graham Norton that she broke a rib while getting into a corset by tightening it as much as possible to achieve an 18-inch waist, and that she fell down the stairs while dancing in heels.^[24] The production overran its shooting schedule and had to be out of the sound stages to make way for Star Wars: Episode II – Attack of the Clones (which also starred McGregor). This necessitated the filming of some pick-up shots in Madrid.^[25][26]

In the liner notes to the film’s Special Edition DVD, Luhrmann writes that «[the] whole stylistic premise has been to decode what the Moulin Rouge was to the audiences of 1899 and express that same thrill and excitement in a way to which contemporary movie-goers can relate.»^[27] Both Roger Ebert and The New York Times compared the film’s editing and cinematography to that of a music video and noted its visual homage to early Technicolor films.^[28][17]

Music[edit]

Marsha Kinder describes Moulin Rouge! as a «brilliant,» «celebratory,» and «humorous» musical and aural pastiche due to its use of diverse songs.^[29] Moulin Rouge! takes well-known popular music, mostly drawn from the MTV Generation, and anachronizes it into a tale set in a turn-of-the-century Paris cabaret.^[27] Kinder holds that keeping borrowed lyrics and melodies intact «makes it almost impossible for spectators to miss the poaching [of songs] (even if they cannot name the particular source).»^[30]

The film uses so much popular music that it took Luhrmann two and a half years to secure the rights to all of the songs.^[31] Some of the songs sampled include «Chamma Chamma» from the Hindi movie China Gate, Queen’s «The Show Must Go On» (arranged in operatic format), David Bowie’s rendition of Nat King Cole’s «Nature Boy», «Lady Marmalade» by Labelle (in the Christina Aguilera/P!nk/Mýa/Lil’ Kim cover commissioned for the film), Madonna’s «Material Girl» and «Like a Virgin», Elton John’s «Your Song», the titular number of The Sound of Music, «Roxanne» by The Police (in a tango format using the composition «Tanguera» by Mariano Mores), and «Smells Like Teen Spirit» by Nirvana.

Luhrmann had intended to incorporate songs by The Rolling Stones and Cat Stevens into the film, but could not obtain the necessary rights from these artists. When Stevens denied consent for the use of «Father and Son» due to religious objections to the film’s content, «Nature Boy» was chosen as its replacement.^[18]

Release and reception[edit]

Originally set for release on Christmas 2000, 20th Century Fox eventually moved the release of Moulin Rouge! to Summer 2001 to allow Luhrmann more time in post-production.^[32][33] Moulin Rouge! premiered at the 2001 Cannes Film Festival on May 9, 2001, as the festival’s opening title.^[1]

Moulin Rouge! opened in the United States at two theaters in New York and Los Angeles on May 18, 2001.^[1] It grossed US$167,540 on its opening weekend.^[5][2] The film then expanded to a national release on June 1, 2001.^[1] It generated $14.2 million, ranking in fourth place behind Pearl Harbor, Shrek and The Animal.^[34] In the United Kingdom, Moulin Rouge! was the country’s number one film for two weeks before being displaced by A.I. Artificial Intelligence.^[35] During its fifth weekend, it reclaimed the number one spot.^[36] The film remained so until it was dethroned by American Pie 2 in its sixth weekend.^[37] Moulin Rouge! has grossed $57,386,369 in the United States and Canada and another $121,813,167 internationally^[2] (including $26 million in the United Kingdom^[38] and $3,878,504 in Australia^[39]).

Moulin Rouge! received generally positive reviews from critics. Roger Ebert rated the film 3.5 stars out of 4, remarking that «the movie is all color and music, sound and motion, kinetic energy, broad strokes, operatic excess.»^[28] Newsweek praised McGregor’s and Kidman’s performances, stating that «both stars hurl themselves into the movie’s reckless spirit, unafraid of looking foolish, adroitly attuned to Luhrmann’s abrupt swings from farce to tragedy. (And both sing well.)»^[40] The New York Times wrote that «the film is undeniably rousing, but there is not a single moment of organic excitement because Mr. Luhrmann is so busy splicing bits from other films» but conceded that «there’s nothing else like it, and young audiences, especially girls, will feel as if they had found a movie that was calling them by name.»^[17] All Things Considered commented the film was «not gonna be for all tastes» and that «you either surrender to this sort of flamboyance or you experience it as overkill.»^[41][42]

Moulin Rouge! holds a rating of 66/100 at Metacritic based on 35 reviews.^[43] At Rotten Tomatoes, the film holds a 76% «Fresh» rating based on 199 reviews, with the critics’ consensus saying, «A love-it-or-hate-it experience, Moulin Rouge is all style, all giddy, over-the-top spectacle. But it’s also daring in its vision and wildly original.»^[44] In December 2001, the film was named the best film of the year by viewers of Film 2001.^[45] Entertainment Weekly ranked it #6 on its list of the top ten movies of the decade, saying, «Baz Luhrmann’s trippy pop culture pastiche from 2001 was an aesthetically arresting ode to poetry, passion, and Elton John. It was so good, we’ll forgive him for Australia.«^[46][47] In 2008, Moulin Rouge! was ranked #211 on Empire’s 500 Greatest Movies of All Time.^[48] Audiences polled by CinemaScore gave the film an average grade of «B+» on an A+ to F scale.^[49]

Home Theater Forum rated the DVD release of Moulin Rouge! as the best DVD of 2001.^[50] Luhrmann had hand-picked the features and behind-the scenes footage for the two-disc DVD edition.^[51]

Analysis[edit]

Several commentators have interpreted Moulin Rouge! as an exemplar postmodern film. Kathryn Conner Bennett and Mina Yang hold that the film satisfies the postmodern paradigm described by Jim Collins through its aesthetic expression. Elaborating on this, Conner Bennett states that Moulin Rouge! utilizes Collins’ concept of «the array,» in which signs and symbols are recycled to engender «postmodern cultural life.»^[52] She argues that Luhrmann’s use of familiar «narrative elements» (such as popular songs) in the film requires viewers to employ «hypertextuality» to understand and interpret the work, and that not all audiences would be able to make the «cognitive leap» required to create meaning from the narrative.^[53] According to Yang, Moulin Rouge! «serve[s] as [a critique] of both avant-garde élitism and stuffy traditionalism»^[54] by combining and alluding to different forms of «élite» and «pop» art.^[55]

The film’s music forms the foundation of its postmodern aesthetic. Marsha Kinder and Mina Yang have noted Moulin Rouge!’s reflexivity as a movie musical, holding that the film incorporates a variety of genre conventions (including «comedy, parody, and satire»)^[56] along with a significant amount of added irony.^[55] Notably, Moulin Rouge! combines mid-to-late 20th Century melodies and lyrics with a narrative set in fin de siècle France, a locale Kinder identifies as «the proverbial international center for modernism.» «The gap in historical periods (between the supposed vintage of [Luhrmann’s] characters and the obvious youth of their songs) freely acknowledges the contemporary nature of this vision of Parisian modernism without any trace of nostalgia.»^[30] Yang notes that Luhrmann «delights in pointing out the difference between the original and the simulation» with regard to the film’s soundtrack.^[57] Kinder contends that Moulin Rouge!’s «renarrativized lyrics are never disturbing, for they are usually more innocent here than in their original source, and that’s precisely the point.»^[30] The use of famous popular songs in a new, original context requires audiences to reinterpret their significance within the framework of the narrative and challenge the assumption that music’s symbolism is static.^[52][58]

Moulin Rouge! also makes ample use of other postmodern filmmaking techniques, including fragmentation and juxtaposition. As the film’s protagonist, Christian is the primary source of Moulin Rouge!’s story line and many portions of the story are told from his point of view. However, the narrative is fragmented on several occasions when the film deviates from Christian’s perspective or integrates a flashback. Moulin Rouge! also juxtaposes a play-within-a-film (Spectacular Spectacular) with the film’s events themselves to draw parallels between the plot of the play and the characters’ lives. This culminates in the «Come What May» sequence, which reveals the development of Christian and Satine’s relationship alongside the progression of Spectacular Spectacular’s rehearsals.^[59]

Postmodernism is also evident in Moulin Rouge!’s homage to «the international scope of the musical,» says Kinder, citing the influence of Western filmmaking genres on the film’s overall style.^[56] The film is also heavily indebted to Strictly Ballroom, which she characterizes as a «transcultural concoction.»^[60] Moulin Rouge!’s celebration of the cross-cultural aesthetic «also extends to globalizing postmodernist spin-offs like [the] music video.»^[61]

Yang states that the plot, style, and themes of Moulin Rouge! serve as a foundation for understanding ways in which «sex, class, exoticism, authorship and performance» are represented in stage and film.^[62] The film’s blending of opera and Hollywood musical enables its interpretation through the «feminist, poststructuralist, and postcolonial» lenses of contemporary opera scholarship.^[63] Yet, despite the film’s postmodern stylings, Conner Bennett argues that Moulin Rouge! is not a feminist text because it «ultimately upholds the patriarchical execution of the female muse, which allows the male artist to create art via her death.»^[64]

Awards and honors[edit]

The film was selected by the National Board of Review as the best film of 2001.^[65] It picked up six Golden Globe nominations including Best Motion Picture – Musical or Comedy, Best Actress in a Motion Picture – Musical or Comedy (for Nicole Kidman), Best Actor in a Motion Picture – Musical or Comedy (for Ewan McGregor), Best Original Score (for Craig Armstrong), Best Director (for Baz Luhrmann) and Best Song («Come What May»). It won three including the coveted Best Picture trophy.^[66] A few weeks later, it received 12 nominations at the BAFTA Awards, making it the most nominated film of the year for that ceremony.^[67] It took home three, including Best Supporting Actor for Jim Broadbent.^[68][69][70]

The film received eight Oscar nominations, including Best Actress in a Leading Role and Best Picture.^[71] It became the first musical film to receive a Best Picture nomination since Beauty and the Beast in 1992.^[72] The film was not nominated for Best Director (Luhrmann); commenting on this during the Oscar ceremony, host Whoopi Goldberg remarked, «I guess Moulin Rouge! just directed itself.»^[73] The film won the awards for Best Costume Design and Best Art Direction.^[71]

«Come What May» (the only original song in the film) was disqualified from nomination for an Oscar because it was originally written (but unused) for Luhrmann’s previous film Romeo + Juliet and not written expressly for Moulin Rouge!.^[74]

Award	Category	Subject	Result	Ref.
AACTA Award	Best Film	Martin Brown, Fred Baron, Baz Luhrmann	Nominated	[75]
Best Direction	Baz Luhrmann	Nominated
Best Actor in a Leading Role	Ewan McGregor	Nominated
Best Actress in a Leading Role	Nicole Kidman	Nominated
Best Actor in a Supporting Role	Richard Roxburgh	Nominated
Best Cinematography	Donald McAlpine	Won
Best Editing	Jill Bilcock	Won
Best Sound	Andy Nelson, Roger Savage, Guntis Sics	Won
Best Production Design	Catherine Martin	Won
Best Costume Design	Catherine Martin, Angus Strathie	Won
Academy Awards	Best Picture	Fred Baron, Martin Brown and Baz Luhrmann	Nominated	[71]
Best Actress	Nicole Kidman	Nominated
Best Art Direction	Art Direction: Catherine Martin; Set Decoration: Brigitte Broch	Won
Best Cinematography	Donald McAlpine	Nominated
Best Costume Design	Catherine Martin and Angus Strathie	Won
Best Film Editing	Jill Bilcock	Nominated
Best Makeup	Maurizio Silvi and Aldo Signoretti	Nominated
Best Sound	Andy Nelson, Anna Behlmer, Roger Savage and Guntis Sics	Nominated
ACE Eddie	Best Edited Feature Film – Comedy or Musical	Jill Bilcock	Won	[76]
BAFTA Award	Best Film	Fred Baron, Martin Brown, Baz Luhrmann	Nominated	[77]
Best Direction	Baz Luhrmann	Nominated	[78]
Best Original Screenplay	Baz Luhrmann, Craig Pearce	Nominated	[79]
Best Supporting Actor	Jim Broadbent	Won	[68]
Best Cinematography	Donald McAlpine	Nominated	[80]
Best Sound	Andy Nelson, Anna Behlmer, Roger Savage, Guntis Sics	Won	[69]
Best Music	Craig Armstrong, Marius De Vries	Won	[70]
Best Production Design	Catherine Martin	Nominated	[81]
Best Costume Design	Catherine Martin, Angus Strathie	Nominated	[82]
Best Editing	Jill Bilcock	Nominated	[83]
Best Special Visual Effects	Chris Godfrey, Andy Brown, Nathan McGuinness, Brian Cox	Nominated	[84]
Best Makeup and Hair	Maurizio Silvi, Aldo Signoretti	Nominated	[85]
Cannes Film Festival	Palme d’Or	Baz Luhrmann	Nominated	[7]
Golden Globe Awards	Best Motion Picture – Musical or Comedy	Fred Baron, Martin Brown, Baz Luhrmann	Won	[66]
Best Director	Baz Luhrmann	Nominated
Best Actor — Motion Picture Musical or Comedy	Ewan McGregor	Nominated
Best Actress — Motion Picture Musical or Comedy	Nicole Kidman	Won
Best Original Song («Come What May»)	David Baerwald, Kevin Gilbert	Nominated
Best Original Score	Craig Armstrong	Won
Grammy Awards	Best Compilation Soundtrack for Visual Media	Craig Armstrong	Nominated	[86]
National Board of Review Award	Best Film	Fred Baron, Martin Brown, Baz Luhrmann	Won	[65]
Producers Guild of America Award	Best Picture	Fred Baron, Martin Brown, Baz Luhrmann	Won	[87]
Satellite Award	Best Film — Comedy or Musical	Fred Baron, Martin Brown, Baz Luhrmann	Won	[88]
Best Director	Baz Luhrmann	Won
Best Original Screenplay	Baz Luhrmann, Craig Pearce	Nominated	[89]
Best Actor — Comedy or Musical	Ewan McGregor	Won	[88]
Best Actress — Comedy or Musical	Nicole Kidman	Won
Best Supporting Actor — Comedy or Musical	Jim Broadbent	Won
Best Original Score	Craig Armstrong	Won
Best Original Song («Come What May»)	David Baerwald, Kevin Gilbert	Nominated	[89]
Best Cinematography	Donald McAlpine	Nominated
Best Editing	Jill Bilcock	Nominated
Best Visual Effects	Chris Godfrey, Andy Brown, Nathan McGuinness, Brian Cox	Nominated
Best Art Direction and Production Design	Catherine Martin, Ian Gracie	Won	[88]
Best Costume Design	Catherine Martin, Angus Strathie	Won	[89][88]
Best Sound	Andy Nelson, Anna Behlmer, Roger Savage, Guntis Sics	Nominated	[89]

Soundtrack[edit]

Musical numbers[edit]

• «Nature Boy» – Toulouse
• «Complainte de la Butte/Children of the Revolution»
• «The Sound of Music» – Toulouse, Christian, and Satie
• «Green Fairy Medley» (The Sound of Music/Children of the Revolution/Nature Boy) – Christian, The Bohemians, and the Green Fairy
• «Zidler’s Rap Medley» (Lady Marmalade/Zidler’s Rap/Because We Can/Smells Like Teen Spirit) – Zidler, Moulin Rouge Dancers, Christian and Patrons
• «Sparkling Diamonds» (Diamonds Are a Girl’s Best Friend/Material Girl) – Satine and Moulin Rouge Dancers
• «Rhythm of the Night» – Moulin Rouge Dancers
• «Sparkling Diamonds» (Reprise) – Satine
• «Meet Me in the Red Room»
• «Your Song» – Christian
• «Your Song» (Reprise) – Satine
• «The Pitch» — Spectacular Spectacular – Zidler, Christian, Satine, The Duke, and Bohemians
• «One Day I’ll Fly Away» – Satine and Christian
• «Elephant Love Medley» – Christian and Satine
• «Górecki» – Satine
• «Like a Virgin» – Zidler, The Duke, and Chorus Boys
• «Come What May» – Christian, Satine, the Argentinean and Cast of Spectacular Spectacular
• «El Tango de Roxanne» – The Argentinean, Christian, Satine, The Duke, and Moulin Rouge Dancers
• «Fool to Believe» – Satine
• «One Day I’ll Fly Away» (Reprise) – Satine and Zidler
• «The Show Must Go On» – Zidler, Satine, and Moulin Rouge Stagehands
• «Hindi Sad Diamonds» (Chamma Chamma/Diamonds Are a Girl’s Best Friend) – Toulouse, Nini Legs-in-the-Air, Satine, and the Cast of Spectacular Spectacular
• «Come What May» (Reprise) – Satine and Christian
• «Coup d’État»/»Finale» (The Show Must Go On/Children of the Revolution/Your Song/One Day I’ll Fly Away/Come What May) – Christian, Satine, and Cast of Spectacular Spectacular
• «Nature Boy» (Reprise) – Toulouse and Christian

Music sources

• «Nature Boy» – Nat King Cole, covered by David Bowie and remixed by Massive Attack for the soundtrack.
• «The Sound of Music» – Mary Martin (and later by Julie Andrews) (from the Rodgers & Hammerstein musical of the same name, featuring overdubbed theremin played by Bruce Woolley)
• «The Lonely Goatherd» – also from The Sound of Music (but heard as instrumental)
• «Lady Marmalade» – Labelle, covered for the film, (by Christina Aguilera, Lil’ Kim, Mýa, Missy Elliott, and Pink)
• «Because We Can» – Fatboy Slim
• «Complainte de la Butte» – Georges Van Parys and Jean Renoir covered by Rufus Wainwright
• «Rhythm of the Night» – DeBarge
• «Material Girl» – Madonna
• «Smells Like Teen Spirit» – Nirvana
• «Diamonds Are a Girl’s Best Friend» – Introduced by Carol Channing, made popular by Marilyn Monroe.
• «Diamond Dogs» – David Bowie covered for the film by Beck.
• «Galop Infernal (Can-can)» – Jacques Offenbach (tune for Spectacular, Spectacular)
• «One Day I’ll Fly Away» – The Crusaders, later Randy Crawford
• «Children of the Revolution» – T.Rex (Covered by Bono, Gavin Friday, Violent Femmes, and Maurice Seezer)
• «Gorecki» – Lamb
• «Come What May» – Ewan McGregor and Nicole Kidman (written by David Baerwald)
• «Roxanne» – The Police (Title in film: «El Tango de Roxanne», combined with music «Tanguera» by Mariano Mores)
• «Tanguera» – Mariano Mores (Title in film: «El Tango de Roxanne», combined with music «Roxanne» by The Police)
• «The Show Must Go On» – Queen
• «Like a Virgin» – Madonna
• «Your Song» – Elton John
• «Chamma Chamma» – Alka Yagnik (Incorporated in the film song titled «Hindi Sad Diamonds»; originally performed by Alka Yagnik in the 1998 Hindi film China Gate, composed by Anu Malik).

Elephant Love Medley

• «Love Is Like Oxygen» by Sweet – Andy Scott and Trevor Griffin
• «Love Is a Many-Splendored Thing» by The Four Aces – Sammy Fain and Paul Francis Webster
• «All You Need Is Love» by The Beatles – John Lennon and Paul McCartney
• «I Was Made for Lovin’ You» by Kiss – Desmond Child, Paul Stanley, Vini Poncia
• «One More Night» by Phil Collins – Phil Collins
• «In the Name of Love» by U2 – U2
• «Don’t Leave Me This Way» by Harold Melvin & the Blue Notes and later Thelma Houston – Kenneth Gamble, Leon Huff, and Cary Gilbert
• «Silly Love Songs» by Wings – Paul McCartney
• «Up Where We Belong» by Joe Cocker and Jennifer Warnes – Jack Nitzsche and Buffy Sainte-Marie
• «Heroes» by David Bowie – David Bowie
• «I Will Always Love You» by Dolly Parton and later Whitney Houston – Dolly Parton
• «Your Song» by Elton John – Elton John and Bernie Taupin

Jamie Allen contributes additional vocals to the «Elephant Love Medley.»^[90] «Love Is Like Oxygen» and «Love Is a Many-Splendored Thing» are only spoken dialogue; they are not actually sung in the medley.

«Your Song» is performed by Ewan McGregor and Alessandro Safina, who contributes additional lyrics in Italian.^[90]

Two soundtrack albums were released, with the second coming after the first one’s massive success. The first volume featured the smash hit single «Lady Marmalade», performed by Christina Aguilera, Lil’ Kim, Mýa and Pink. The first soundtrack, Moulin Rouge! Music from Baz Luhrmann’s Film, was released on 8 May 2001,^[91] with the second, Moulin Rouge! Music from Baz Luhrmann’s Film, Vol. 2, following on 26 February 2002.^[92]

Stage adaptation[edit]

As early as November 2002, Luhrmann revealed that he intended to adapt Moulin Rouge! into a stage musical. A Las Vegas casino was the reputed site of the proposed show.^[93] Luhrmann was said to have asked both Kidman and McGregor to reprise their starring roles in the potential stage version.^[94]

In 2008, a stage adaptation entitled La Belle Bizarre du Moulin Rouge («The Bizarre Beauty of the Moulin Rouge») toured Germany and produced a cast recording.^[95]

In 2016, it was announced that Global Creatures was developing Moulin Rouge! into a stage musical. Alex Timbers was slated to direct the production, and John Logan was tapped to write the book.^[96] Moulin Rouge!: The Musical, starring Aaron Tveit as Christian and Karen Olivo as Satine, premiered on 10 July 2018 at the Colonial Theatre in Boston.^[97] The Broadway production opened at the Al Hirschfeld Theatre on 25 July 2019.^[98]

In popular culture[edit]

The 2002 made for television movie, It’s a Very Merry Muppet Christmas Movie, features a Christmas-themed parody entitled «Moulin Scrooge», in which various scenes and musical numbers are re-enacted by Muppets.^[99] In Moulin Scrooge, Christian is played by Kermit the Frog, Satine (named Saltine) by Miss Piggy, Toulouse-Lautrec by Gonzo and Zidler by Fozzie Bear.^[100]

In the 2017–18 figure skating season, at the 2018 Winter Olympics, Canadian skaters Tessa Virtue and Scott Moir performed two selections from Moulin Rouge!, interpreting the story of Christian and Satine through «The Show Must Go On», «El Tango de Roxanne», and «Come What May». Their performance won the gold medal in the team and the individual events.^[101] At this event, Virtue and Moir became the most decorated skaters of all time.^[102]

See also[edit]

• Moulin Rouge, 1928 film
• Moulin Rouge, 1952 film

References[edit]

Notes[edit]

External links[edit]

• Official website
• Moulin Rouge! at IMDb
• Moulin Rouge! at Box Office Mojo
• Moulin Rouge! at Rotten Tomatoes
• Moulin Rouge! at Metacritic
• Moulin Rouge! at Oz Movies