Film Analysis of Moulin Rouge

You don't need to be a film critic to understand the patience, effort, and style put into the production of the film, Moulin Rouge. What makes a film "good" anyway? Everyone has their own opinion about what makes a film good, but it's undeniable how good Moulin Rouge was written and performed. In essence, it can easily be said that the use of cinematography, sound, acting, and editing was perfectly executed to make sure the film was not only exceptionally well, but also standing its purpose to tell a dramatic love story. This wonderful romantic drama depicting the new-found conflicting love between a young French man and a beautiful courtesan is a rollercoaster of emotions and dramatic turmoil that will surely have you at the edge of your seat with every scene.

The narrative overview starts with the opening plot seeking after a gullible, needy English writer Christian in bohemian Paris, capitulating to great courtesan, Satine. As the pretty face of the slimy parasite Moulin Rouge, Satine is the make or break of productions. Administrator, Harold Zidler, frenzied to save his theater, trades her sexual favors to a rich English Duke. Satine is constrained to pick among veneration and desperation with Christian, or melodic calling for sexuality to the Duke to save the cast, Satine must reject Christian to guarantee his life. Right when Christian furiously assaults the explosive stage show up, she declares her love. As they sing a two-section agreement, the cast ruins the Duke's arrangements for Christian's death, and of course upstanding love and affection triumph over villainy in a clear subliminal finish. A youthful optimist named Christian moves to Paris in the late spring of 1899. There he meets several new characters including Toulouse Lautrec and Harold Zidler, who claim to own an extravagant club called the 'Moulin Rouge'. Lautrec essentially uses Christian to plug his new play, dressing him up to persuade one of Zidler's best employee's, the elegant Satine, to get the play on Zidler's needs. Zidler additionally fixes an "arrangement" between a malicious Duke and Satine on the same night with the goal that the rich Duke will put resources into his dance club. Satine botches Christian for the Duke and essentially falls head over heels in love with him and vice versa. Zidler persuades the Duke to contribute, however, Satine and Christian must conceal their affection as the Duke accepts that Satine adores him and furthermore he is naturally an envious man. At some point the Duke gets some answers concerning Christian and Satine's mystery love, he gives Satine a final offer: she should either carry on with the play in his direction and go with him toward the finish of the play, or he will have Christian executed. Satine chooses to spare Christian and goes on with the show causing Christian to face Satine about it. At the point when he confronts her with emotions high, Satine chooses to pass over the Duke and go with Christian. She at that point endures an unclear yet likely respiratory assault and passes on due to her condition, behind the window ornaments. Christian laments for just a little while and shortly after a year, composes their story.

The opening scene of Moulin Rouge declares a red performance center drape which opens to a highly contrasting scene of Paris in ruin. This induces a tale demonstrated as though it is a theater creation, which is a key topic throughout the film. As the scene travels through Paris, it goes to a room demonstrating the hero, Christian with his head in his arms in exceptionally relaxed lighting, encompassed by void containers, residue, and soil. This shows his despair and the way that he's infatuated by dimness could mirror his absence of expectation or lack of experience. This gives the watcher a conspicuous understanding that a sad occasion has recently occurred, which is later clarified that the demise of his darling, Satine, had caused his agony. The film at that point switches from scenes of a neglected Paris to a lively, elegant club, The Moulin Rouge. In a measure it shows a neat and clean Christian, further symbolizing his enthusiastic weakening after Satine's passing. Altogether, even though Paris is in ruin, there's a fun and vivid spot where individuals can come and unwind in Bohemian style. The mix of depressing pessimistic scenes with the spunk shows that although the world is shrouded in dark misery, the iridescent red of the Moulin Rouge gives trust. As the show 'Marvelous Spectacular' starts, of course, Christian is composing and Satine is the starring role and of course, every occasion inside the play additionally happens inside the film. In the play, the prostitute played by Satine, must persuade her sweetheart that she doesn't cherish him, Which is actually what Satine does in truth as she's told by Harold Zidler that she must be with the Duke for his cash, which is a monstrous differentiation to the Bohemian conviction of "Opportunity, Beauty, Truth and Love" which is rehashed all through the film. In the wake of being left, Christian chooses to visit the Moulin Rouge one final time. At this point, we see a scene of a dull, demolished road, yet at the end is the Moulin Rouge, showered with red and shows up as the promising finish. The Moulin Rouge portrays itself to be the home concerning the Bohemian upheaval and its confidence in adoration yet was entirely convinced by the Duke's cash. This is the point at which the falsehood of structure is most evident, and how the whole building is simply an ornament to reality; The Moulin Rouge is just as neglected and edgy as each other structure in Paris. It is likewise the very thing that causes Christian's passionate agony the watcher saw in the opening scenes, and at present found in the way that he's remained bleak and dim.

Cinematography is the workmanship or method of film photography to which the Moulin Rouge shows. The film is an outwardly striking film, which combines splendid components of cinematography. One scene specifically that catches the brightness of the cinematographer is the scene inside which the "Oblivious Argentinean" willingly volunteers to clarify the circumstance with an extraordinary, tango, adjustment of The Police's melody "Roxanne." The lighting and different components of this scene are very beautiful, as they persuasively pass on the dull feelings of the circumstance. The various components of cinematography, shading, lighting, and the utilization of camera points enliven the feelings and add greater than life feeling to the scenes. The utilization of various complexion in this scene improves, if not make the disposition and tone of the scene. The use of two hues in particular, red and blue are utilized to speak to various representative implications, for example, the cliché "Great and insidiousness" or warmth and cold. As the scene starts, the shading red is utilized to speak to a kind of warmed, obscene climate that is running compared with outrage and pressure felt by both the character Christian and the watcher, who is made to feel irritated at the way that Satine is compelled to at long last "feast" with the Duke. As the scene advances, and the tango starts, she is presented under blue-tinted lighting suggesting a chilly, harsh, impassion that appears to be practically sickening. The use of montage editing is also a significant storytelling element in Moulin Rouge, which helps show the story with a relatable atmosphere. Firstly, the sequence in which Christian's first arrival to Moulin Rouge creates the loud atmosphere of this notorious nightclub. It portrays a chaotic and mysterious nightclub by bewildering the hero, Christian, and fast showing the exterior of the Moulin Rouge. Montage also visually shows the imposing atmosphere between Satine and the duke. The director has arranged a rough dance to be shown synchronously with the duke and Satine's date.

The music in Moulin Rouge is a collaboration of a considerable amount of extraordinary pop tunes of the twentieth century, from Rodgers and Hammerstein to Lennon and McCartney, from Sting to Elton John, from Dolly Parton to David Bowie. Luhrmann's motivation from the strategies of certain musicals from Hollywood's magnificence days. For Moulin Rouge, Luhrmann needed an electric score that would include a bunch of different types of music, highlighting crafted by many authors, makers, arrangers, and artists. The voice-over from Christian legitimately portrays the story. The uniqueness of this film doesn't shroud any unforeseen occasions in this film, and many key occasions in this story even presented before they occurred, so the storyline is clear and simple to pursue. For instance, at the start of the film, after Christian composed a couple of lines in, his voice-over started to determine what befell him in Moulin Rouge. Thus, when Satine is going to die in this film, his voice-over demonstrates so before this demise happens. Those verbally expressed writings had quickly demonstrated the general framework of the story and supplies a feeling of narrating climate, which decides the dismal tone of this romantic tale.

In a frenzy of overabundance, the entertainers themselves need to keep the motion picture admirably well, Zidler is played well as he is playing the puffy, paunchy director who menaces Satine into surrendering her adoration for Christian so she can lay down with the Duke of Worcester, who has vowed to invest cash into the club. Satine cuts a charming and patrician figure, as tall and sensitive as an infant giraffe, however, just alludes to the intriguing presentation that she may have had the option to give in a motion picture with genuine individuals set in a promiscuous Moulin Rouge. As for Christian, His open, amiable face reacts somewhat well to the director's hyperactive, beady look, and this is a drawing and alluring execution. Oddly, and a little coldheartedly, there isn't much about the French dance in this motion picture: a disgrace, as a motion picture with an increasingly clever enthusiasm for the fantasy and history of the spot, may have a ton of fun covering and divulgence.

Every bit and piece from acting and directing to cinematography and visual effects ensures a beautifully written tale of what is considered to be a true love story. Of course, in every great love story, there is always a source of great confliction that humbles the audience and drags out the gritty romance of it all. The setting and period in which this film takes place brings to life how serious and different times were. The acting, plot, characters, and use of wordplay and figurative language all come together perfectly to tell a romantically chaotic love story that everyone wants to see in the end. All in all, Moulin Rouge is a perfect depiction of what should've been but couldn't be. It is the heartthrob, the romantic drama of the century that will no doubt pull at your heartstrings.

Works Cited

• Brown, Martin, Baz Luhrmann, Fred Baron, Craig Pearce, Nicole Kidman, Ewan McGregor, John Leguizamo, Jim Broadbent, Richard Roxburgh, Garry McDonald, Jacek Koman, Matthew Whittet, Kerry Walker, Donald McAlpine, Ann-Marie Beauchamp, Jill Bilcock, Craig Armstrong, and Catherine Martin. Moulin Rouge. Beverly Hills, Calif: 20th Century Fox, 2002.