Moulin Rouge! (2001)

PG-13 | 126 or 128 mins | Musical, Romance | 18 May 2001

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
You may also like these titles from the AFI Catalog of Feature Films, the most authoritative documentation of the First 100 Years of American filmmaking.

Director:

Baz Luhrmann

Cinematographer:

Donald M. McAlpine

Editor:

Jill Bilcock

Production Designer:

Catherine Martin

Production Company:

Bazmark Films
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HISTORY

The film begins with a shot of Matthew Whittet, as the character “Satie,” standing on a stage in front of red velvet curtains in the nightclub Moulin Rouge. As the curtains open, Satie conducts an orchestra playing the famous Twentieth Century Fox fanfare over a shot of the company’s logo. The curtains close, then re-open to reveal the titles “Twentieth Century Fox Presents/A Bazmark Production/ Moulin Rouge! /Paris, 1990.” The titles are designed to look as if they were from an early black-and-white, silent movie. After the time and setting are established, the camera moves past the curtains and into the screen behind Satie. After a brief shot of John Leguizamo, as “Henri de Toulouse-Lautrec,” singing “Nature Boy,” a long traveling shot of Paris in miniature leads to a flowing shot through the streets of Montmartre and up into the rooms of “Christian.” The sequence begins in black-and-white, with an increasing color tint until it becomes full color with the appearance of Christian.
       The 28 May 2001 Newsweek review noted that Twentieth Century Fox originally objected to director Baz Luhrmann’s unusual presentation of its theme music, which was written in the 1930s by longtime Fox composer Alfred Newman. According to the film’s presskit, the shots of Paris were obtained using a collage created by Catherine Martin, the picture’s production and costume designer, and the streets of Montmartre were created in miniature in one-fifth or one-sixth scale, with photographs and film of real people digitally added.
       The acting and crew credits for the picture appear at the end of the film; the first time the actors are listed, without character names, Nicole Kidman, Ewan McGregor, John Leguizamo, ... More Less

The film begins with a shot of Matthew Whittet, as the character “Satie,” standing on a stage in front of red velvet curtains in the nightclub Moulin Rouge. As the curtains open, Satie conducts an orchestra playing the famous Twentieth Century Fox fanfare over a shot of the company’s logo. The curtains close, then re-open to reveal the titles “Twentieth Century Fox Presents/A Bazmark Production/ Moulin Rouge! /Paris, 1990.” The titles are designed to look as if they were from an early black-and-white, silent movie. After the time and setting are established, the camera moves past the curtains and into the screen behind Satie. After a brief shot of John Leguizamo, as “Henri de Toulouse-Lautrec,” singing “Nature Boy,” a long traveling shot of Paris in miniature leads to a flowing shot through the streets of Montmartre and up into the rooms of “Christian.” The sequence begins in black-and-white, with an increasing color tint until it becomes full color with the appearance of Christian.
       The 28 May 2001 Newsweek review noted that Twentieth Century Fox originally objected to director Baz Luhrmann’s unusual presentation of its theme music, which was written in the 1930s by longtime Fox composer Alfred Newman. According to the film’s presskit, the shots of Paris were obtained using a collage created by Catherine Martin, the picture’s production and costume designer, and the streets of Montmartre were created in miniature in one-fifth or one-sixth scale, with photographs and film of real people digitally added.
       The acting and crew credits for the picture appear at the end of the film; the first time the actors are listed, without character names, Nicole Kidman, Ewan McGregor, John Leguizamo, Jim Broadbent and Richard Roxburgh receive individual title cards. The end credits begin with a card reading: “In Memorium, Leonard Luhrmann, 1934—1999.” Leonard Luhrmann, who died while the film was beginning production, was the father of director Baz Luhrmann. After the end credits, the Bohemian motto “This Story Is About Truth, Beauty, Freedom, But Above All, Love,” is flashed on the screen in stylized title cards. ["Bohemianism," a movement that began largely in Paris in the mid-to-late 1800s, promoted the concepts of creating art for its own sake, rejecting wealth and pursuing idealized notions of love and truth.] Voice-over narration by Ewan McGregor, as “Christian,” is heard throughout the picture, as if the film is illustrating the novel he is writing about his romance with “Satine.” Although several reviews refer to Richard Roxburgh’s character as the “Duke of Worcester,” in the film he is called only “The Duke,” and his name appears in written form once as “Duc de Monroth.”
       The end credits contain a disclaimer noting that while some actual characters, firms and events are depicted, the film is a work of fiction. The real Moulin Rouge, notorious for its can-can dancers and sexually suggestive atmosphere, was owned by Charles Zidler and his partner Joseph Oller, and opened in Montmartre on 6 Oct 1889. Artist Henri de Toulouse-Lautrec (1864—1901), perhaps best known for his portraits of the club’s entertainers, has been portrayed in other films, including the 1953 production Moulin Rouge , which is otherwise unrelated to the 2001 film (see AFI Catalog of Feature Films, 1951-60 ). Môme Fromage, Le Petomane and Le Chocolat were real performers at the club. The film’s presskit notes that the character Satie is “based on a loose mix between” unorthodox composers Erik Satie and Maurice Ravel.
       The end credits also include a card thanking Möet Chandon Champagne. According to a Nov 2000 article in Brill’s Content , Susan Safier, the vice-president of Product Placement, persuaded Möet Chandon “to provide a large supply [of their champagne] and also got the company to reproduce vintage labels—at its own expense—which the film’s production staff then used to replace the real ones.”
       According to a Jun 2001 Movieline article, Luhrmann originally considered casting Heath Ledger as Christian, but after conducting several screen tests of Ledger with Nicole Kidman, decided that he was too young for the role. Both Kidman and Ewan McGregor made their singing debuts in the film, and in the film’s presskit, McGregor credited the extensive four-month rehearsal process with aiding his ability to feel comfortable singing in front of the cameras during actual production. According to the presskit, in order to obtain the best vocal performances from the actors, Luhrmann allowed them either to lip-sync to their own pre-recordings, or to sing live during shooting, accompanied by a guide track or a live keyboardist. The picture marked the screen debuts of Australian actors Caroline O’Connor and Matthew Whittet.
       Numerous news items and magazine articles chronicled injuries suffered by Kidman, which delayed filming, including a twice-broken rib caused by being lifted in the dance sequences while wearing a tight corset, and torn knee cartilage resulting from a fall during the “Diamonds Are a Girl’s Best Friend” production number. According to an interview for EW.com, Leguizamo approximated Toulouse-Lautrec’s short stature through the use of “amputee prostheses with movable ankles and feet. His real feet and lower legs were erased with computer special effects.” In several interviews, Leguizamo mentioned that the prostheses, which weighed approximately forty pounds each, were painful to wear and caused his legs to go numb.
       In the picture, song lyrics are often used as dialogue to propel the story. According to added content on the film’s special 2-disc DVD release, composer Craig Armstrong explained that the film’s story “is constructed around the choice of the songs.” It took Luhrmann two years to obtain the rights to the songs used in the extensive music score, according to a 6 May 2001 LAT article. In The Times (London) review, it was reported that Luhrmann obtained the rights for free from artists eager to participate in the unusual project, although an 18 Jun 2001 People article stated that the director paid Courtney Love, widow of songwriter Kurt Cobain, $125,000 to use the song “Smells Like Teen Spirit.” The article also reported that Luhrmann originally had the song recorded by Marilyn Manson, but when Love objected, was forced to re-record it with an “unknown” band shortly before the picture’s premiere. No artist is listed as performing “Smells Like Teen Spirit” in the onscreen credits. The only music to which Luhrmann could not obtain the rights were songs written by the Rolling Stones and “Father and Son,” composed by Cat Stevens, who, because of his religious beliefs, objected to the film’s subject matter. According to Armstrong, after the filmmakers were unable to use "Father and Son," they decided to use "Nature Boy," which is sung at both the opening and ending of the film, and is used as "Christian's theme." "Toulouse's" big line during the production of Spectacular, Spectacular --"the greatest thing you'll ever learn, is just to love, and be loved in return"--is a lyric from "Nature Boy."
       In numerous interviews, Luhrmann described Moulin Rouge! as the third in his “Red Curtain” trilogy, which began with the Australian Strictly Ballroom (1992) and continued with William Shakespeare’s Romeo + Juliet (1996). On the Moulin Rouge official website, Luhrmann explained that his “Red Curtain” films employ a heightened sense of theatricality, through the use of music, language, dance or other devices, and are based on an underlying, primary myth. The myth Luhrmann utilized for Moulin Rouge! was that of Orpheus, who descended into the underworld in search of his lost love but returned alone. (Several times during the film, the inhabitants of the Moulin Rouge are referred to as “creatures of the underworld.”) In added material prepared for the film's DVD, Luhrmann called his “Red Curtain” films “audience participation cinema,” and elaborated that the aim is constantly to remind the audience that they are involved in the process of watching a movie. Reviewers commented that the film's plot was also reminiscent of Alexandre Dumas' novel La Dame aux camélias (1848) and Giuseppe Verdi's opera La traviata (1853).
       In several interviews, Martin, Luhrmann’s wife and frequent collaborator, commented on the film’s complicated art and costume design. Fabrics from around the world were used for the over four hundred costumes in the picture. Hand-beading and embroidery for some of the costumes was done in India, while some costumes were imported from Italy. Martin and Luhrmann commented in several sources that the film’s “look” was inspired by “classic film divas” such as Marlene Dietrich, Greta Garbo and Rita Hayworth; Hollywood musicals such as Folies Bergere , Meet Me in St. Louis and Cabaret ; and the frequently extravagent “Bollywood” musicals from India.
       In designing the Moulin Rouge, Martin had access to blueprints for a planned 1902 renovation of the real nightclub, according to a May 2001 Entertainment Design Magazine article. One of the film’s most elaborate sets is the three-story, papier-maché elephant that contains Satine’s boudoir. The elephant is based on a building in the garden of the real Moulin Rouge, which housed an Arabian-themed gentlemen’s club. According to the picture’s presskit, several different sets of the elephant were built, including a full-scale elephant on a steel frame. The real Moulin Rouge was acclaimed for its at-the-time novel use of electricity, and in the presskit, director of photography Donald M. McAlpine stated that he attempted to reproduce the presumed effect of electric lights on the patrons by using “heightened lighting as befits the Moulin Rouge: all glamour.” The color design of the picture was inspired by the colors used in the actual paintings by Toulouse-Lautrec, according to the presskit, as well as Luhrmann’s desire for a “super-saturated” Technicolor look. According to UrbanCinefile.com, the filmmakers originally planned to use only thirty special effects shots, but wound up with over three hundred in order to accommodate the many 3D models and miniatures. The film was shot entirely on soundstages in Sydney and Madrid and features no exterior locations.
       Although the film was originally set to open in Dec 2000, the release date was delayed until May 2001. According to Oct 2000 HR and LAT news items, Fox decided to give Luhrmann extra time for the complicated post-production. In Apr 2001, Entertainment Weekly reported that Luhrmann had been unable to complete filming in time for the Christmas release, due to complications such as Kidman’s injuries and the need to vacate their soundstages in Sydney, which were required by another production. According to the article, “Luhrmann eventually picked up his missing shots in Madrid last fall.”
       Vogue , which had anticipated that the film would be released near Christmas 2000, featured Kidman on the cover of its Dec 2000 issue, and included a lengthy article about the picture’s fashions. In mid-Apr 2000, Vogue hosted a preview screening of the film, in conjunction with a specially commissioned fashion show. According to a 6 Sep 2001 HR review, Luhrmann’s efforts to publicize the film became the focus of a BBC television documentary entitled The Show Must Go On . The documentary, directed by Adrian Sibley, followed Luhrmann for four months, beginning with the Cannes Film Festival, which celebrated its opening night with the premiere of Moulin Rouge! . In Aug 2001, Parade announced that Luhrmann was considering adapting the film for the stage. The picture was given a theatrical re-release in Los Angeles, Chicago, New York and San Francisco on 21 Nov 2001.
       Moulin Rouge! was included in many top ten lists and was named the best film of the year by the National Board of Review. The film was nominated by AFI as Movie of the Year. In addition, Jill Bilcock received the AFI award as Editor of the year and Craig Armstrong received AFI's Composer of the year. The picture won Golden Globes for Best Motion Picture--Musical or Comedy and Best Score, and Kidman won the Golden Globe for Best Actress in a Motion Picture--Musical or Comedy. Luhrmann and McGregor received individual Golden Globe nominations.
       The picture’s main love song, “Come What May,” also garnered a Golden Globe nomination for Best Original Song for composer David Baerwald. Moulin Rouge! also won Australian Film Institute Awards for Best Cinematography, Best Editing, Best Costume Design and Best Production Design. The film won Academy Awards for Best Art Direction and Best Costume Design and was nominated for the following Academy Awards: Best Cinematography, Best Film Editing, Best Makeup, Best Picture, Best Sound and Best Actress, for Kidman. Moulin Rouge! also was ranked 25th on AFI's list of the 25 Greatest Movie Musicals. More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Jun 2001
pp. 38-51.
Brill's Content
Nov 2000.
---
Daily Variety
16 Nov 1999.
---
Daily Variety
24 Oct 2000.
---
Daily Variety
10 May 2001
p. 2, 18.
Daily Variety
1 Jun 2001
p. 1, 42.
Daily Variety
23 Oct 2001.
---
Entertainment Design Magazine
May 2001.
---
Entertainment Weekly
27 Apr 2001.
---
Entertainment Weekly
25 May 2001
pp. 48-49.
Entertainment Weekly
1 Jun 2001.
---
Entertainment Weekly
14 Sep 2001
pp. 12-13.
Entertainment Weekly
2 Nov 2001
p. 46.
Hollywood Reporter
10 May 2001
p. 1, 35.
Hollywood Reporter
18 May 2001.
---
Hollywood Reporter
25 May 2001.
---
Hollywood Reporter
6 Sep 2001
p. 22, 26.
Hollywood Reporter
5 Oct 2000
p. 4, 23.
Los Angeles Times
5 Oct 2000.
---
Los Angeles Times
6 May 2001.
---
Los Angeles Times
11 May 2001.
---
Los Angeles Times
18 May 2001.
---
Movieline
Jun 2001.
---
New York Times
15 Apr 2001.
---
New York Times
22 Apr 2001.
---
New York Times
6 May 2001.
---
New York Times
18 May 2001
p. E10.
New Yorker
28 May 2001
p. 140.
Newsweek
28 May 2001.
---
NYT Magazine
13 May 2001.
---
Parade
19 Aug 2001.
---
People
6 Dec 1999.
---
People
23 Apr 2001.
---
People
18 Jun 2001.
---
Rolling Stone
7 Jun 2001
p. 119.
Screen International
29 Oct 1999.
---
Screen International
25 May 2001.
---
Sight and Sound
Sep 2001.
---
The Observer (London)
19 Aug 2001.
---
The Sunday Times (London)
6 May 2001
pp. 6-7.
The Times (London)
10 May 2001
p. 15.
The Times (London)
6 Sep 2001.
---
Time
14 May 2001.
---
Variety
26 Apr 1999.
---
Variety
16 Apr 2001
p. 7, 46.
Variety
23 Apr 2001.
---
Variety
14 May 2001.
---
Vouge
Dec 2000.
---
Wall Street Journal
18 May 2001.
---
CAST
NAME
CREDITED AS
CREDIT
Montmartre dance team:
Paris dance team:
Tabasco Brothers:
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
1st asst dir, Mocon/Miniatures unit
2d asst dir
2d 2d asst dir
3d asst dir
PRODUCERS
Prod
Assoc prod
Assoc prod
WRITERS
PHOTOGRAPHY
Dir of photog
Dir of photog, Mocon/Minatures unit
Op, Mocon/Miniatures unit
Focus puller, main unit/Steadicam
Focus puller, Mocon/Miniatures unit
Chief lighting tech
Key grip
Video split op
B cam op/Steadicam op
B cam focus puller
C cam op
Main unit cam asst/C cam focus puller
Main unit clapper loader
B cam clapper loader
Main unit cam truck loader
Video dept asst
Best boy electrics
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech/Dimmer board op
Lighting tech/Dimmer board op
Rigging chief lighting tech
Rigging best boy
Rigging best boy
Leading hand
Rigging lighting tech
Rigging lighting tech
Rigging lighting tech
Rigging lighting tech
Rigging lighting prod asst
Dolly grip
Best boy grip
Asst grip
Asst grip
Asst grip
Asst grip
Asst grip
Grip B cam
Asst grip B cam
Grip/Cam remote tech
Rigging coord
Rigging leading hand
Rigger
Rigger
Rigging welder
Unit stills photog
Telecine op
ART DIRECTORS
Prod des
Supv art dir
Asst art dir
Asst art dir
Asst art dir
Asst art dir
Asst art dir
Art dept coord
Asst to art dept coord
Art dept accountant
Asst des to Catherine Martin
Set des
Set des
Set des
Set des
Set des
Set des
Prod illustrator
Draughtsman
Draughtsman
Senior graphic des
Graphic des
Asst to Catherine Martin
Asst to Catherine Martin
Art dept runner, dressing
Art dept runner
Art dept runner
Art dept asst
Buyer/Dresser
Buyer/Dresser
Buyer/Dresser
Asst buyer
Asst buyer
Asst buyer
Set dressing asst
Dressing props maker
Asst dressing props maker
Art dept elec
Art dept elec
Art dept elec
Art dept elec
Art dept elec
FILM EDITORS
Addl ed
Supv 1st asst ed
1st asst ed, film
1st asst ed, digital
1st asst ed, digital
1st asst ed, digital
1st asst ed, digital
1st asst ed, U.S. post prod
2d asst ed
Conform asst ed
Conform asst ed
Conform asst ed
Conform asst ed
Ed dept asst
Ed dept asst
Asst to Jill Bilcock
Asst ed, U.S. post prod
Apprentice ed, U.S. post prod
Editorial, Asylum Visual Effects
Pic, sd & mixing facility
SET DECORATORS
Set dec
Asst set dec
Standby props
Prop master
Asst standby props
Asst standby prop
Asst prop master
Props buyer
Asst props buyer
Supv sculptor
Sculptor
Sculptor
Asst sculptor
Asst sculptor
Asst sculptor
Drapist/Soft furnishings
Asst soft furnishings
Asst soft furnishings
Asst soft furnishings
Const mgr
Asst const mgr
Foreman/Set builder
Foreman/Set builder
Junior foreman/Set builder
Leading hand/Set builder
Const admin
Const buyer
Const buyer
Standby carpenter
Tool tech
Set builder/Asst electrics
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Set builder
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Trade asst
Trade asst
Trade asst
Steelwork foreman
Leading hand steelworker
Steelworker
Steelworker
Steelworker
Steelworker
Steelworker
Head plasterer
Plasterer
Plasterer
Asst plasterer
Const rigger
Const rigger
Const rigger
Head stagehand
Stagehand
Stagehand
Stagehand
Stagehand
Stagehand
Stagehand
Stagehand
Head scenic artist
Scenic artist
Scenic artist
Scenic artist
Paint foreman
Scenic buyer
Set finisher
Set finisher
Set finisher
Set painter
Set painter
Set painter
Painter
Painter
Painter
Painter
Standby painter
Brush hand
Brush hand
Brush hand
COSTUMES
Cost des
Cost des
Cost supv
Cost set supv
Cost des asst
Cost standby
Cost dept coord
Extras' cost coord
Accessories coord/Extras' stylist
Cost dept accountant
Cost dept accountant
Asst cost standby
Head cost buyer
Cost buyer
Cost buyer
Cost fabrics coord/Cost asst
Head costumier
Costumier to Ms. Nicole Kidman
Cost standby to Ms. Nicole Kidman
Cost cutter
Cost cutter
Cost cutter
Cost cutter
Cost cutter
Menswear cost cutter
Menswear cost cutter
Menswear cost cutter
Tailor
Tailor
Head of cost art finishing
Cost jeweller
Senior milliner
Milliner
Milliner
Asst milliner
Cost art finisher
Cost art finisher
Cost art finisher
Shoe coord
Shoemaker to Ms. Nicole Kidman and Ewan McGregor
Extras' cost cutter
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Cost maker
Dancers' cost standby
Dancers' cost standby asst
Dancers' cost asst
Extras' cost standby and asst
Extras' cost asst
Extras' cost asst
Extras' cost asst
Cost digital artist
Cost runner
Cost coord asst
Development costumier
Development costumier
Santine's diamond neckpiece des and crafted by
Diamonds selected from
Cost jewelry
MUSIC
Orig score
Mus dir/Addl score
Mus supv and exec mus prod
Co-mus supv
Supv mus ed
Addl mus ed
Mus ed, U.S. post prod
Mus ed, U.S. post prod
Coord mus ed, U.S. post prod
Mus cont/Vocal ed
Mus dept prod asst
Mus asst
Singing coach/On set mus dir
Vocal coach
Addl score/Mus arr/Addl cond
Addl score/Mus arr/Mus programmer
Mus arr
Swing arr
Addl mus arr
Orch cond, London
Orch cond, Melbourne and Sydney
Orch contractor, London
Melbourne Symphony Orch contractor
Orch contractor, Sydney
Orch leader, London
Choir master
Mus preparation
Mus preparation
Mus preparation, Melbourne and Sydney
Mus preparation, Melbourne and Sydney
Mus rec and mix eng
Addl mixer
Addl mixer
Vocal prod and eng
Asst eng
Asst eng
Asst eng
Asst eng
Asst eng
Asst eng
Asst eng
Asst eng
Asst eng
Asst eng
Mus programmer
Mus programmer
Mus programmer
Mus programmer
Mus programmer
Mus programmer
Mus clearance
Rec eng, Melbourne and Sydney
Rec eng, Melbourne and Sydney
Mus coord
Mus development ed/Mus programmer
SOUND
Sd supv/Re-rec mixer, Australia
Boom op
Sd asst
Supv sd eff ed
Spec sd eff ed
Sd eff ed
Sd eff ed
Supv dial ed
Dial ed
Dial asst ed
Re-rec mix asst/Ed asst
Temp mix asst
Foley rec
Foley walker
Re-rec mixer, U.S.
Re-rec mixer, U.S.
Foley mixing, Australia
ADR mixer, U.S.
Consulting sd supv, U.S. post prod
Rec, U.S. post prod
Rec, U.S. post prod
ADR rec, U.S. post prod
Robert Wise Stage rec, U.S. post prod
Robert Wise Stage rec, U.S. post prod
Dial/ADR ed, U.S. post prod
Dial/ADR ed, U.S. post prod
Asst sd ed, U.S. post prod
Re-rec eng, U.S. post prod
Robert Wise Stage re-rec eng, U.S. post prod
VISUAL EFFECTS
Visual eff supv
Visual eff prod
Models and miniatures supv
Modelshop foreman
Senior model maker
Senior model maker
Senior model maker
Senior model maker
Senior model maker
Senior model maker
Senior model maker
Model maker
Model maker
Model maker
Model maker
Model maker
Model maker
Senior model maker/Sculptor
Senior model maker/Sculptor
Modelshop buyer/Coord
Art finisher
Miniatures props
Gen asst prop maker
Spec eff
Senior spec eff tech
Senior spec eff tech
Spec eff tech
Visual eff ed
Visual eff ed
Post eff guy, U.S. post prod
End credits
End credits
Title des
Title des
Title des
Title des
Visual eff exec prod, Animal Logic Film
Visual eff exec prod, Animal Logic Film
Visual eff line prod, Animal Logic Film
Visual eff line prod, Animal Logic Film
Visual eff coord, Animal Logic Film
Leading visual eff art dir, Animal Logic Film
Visual eff art dir/Matte painter, Animal Logic Fil
Visual eff art dir, Animal Logic Film
Concept artist/Matte painter, Animal Logic Film
Supv inferno artist, Animal Logic Film
Supv cineon compositor, Animal Logic Film
Senior inferno artist, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Compositor, Animal Logic Film
Dir of R&D, Animal Logic Film
Head R&D programmer, Animal Logic Film
Prod programmer, Animal Logic Film
Tech asst, Animal Logic Film
Tech asst, Animal Logic Film
Tech asst, Animal Logic Film
Film I/O supv, Animal Logic Film
Scanning/Rec op, Animal Logic Film
Scanning/Rec op, Animal Logic Film
Visual eff exec prod and supv, Asylum Visual Effec
Visual eff prod, Asylum Visual Effects
Exec prod, Asylum Visual Effects
Lead inferno artist, Asylum Visual Effects
Inferno artist, Asylum Visual Effects
Inferno artist, Asylum Visual Effects
Inferno artist, Asylum Visual Effects
Inferno artist, Asylum Visual Effects
Inferno asst, Asylum Visual Effects
Inferno asst, Asylum Visual Effects
Dir of technology, Asylum Visual Effects
Data wrangler, Asylum Visual Effects
Eng, Asylum Visual Effects
Visual eff supv/Prod, Digital Filmworks
Senior compositor, Digital Filmworks
Motion control prod, Mill Motion Control
Motion control cam, Mill Motion Control
Motion control op, Mill Motion Control
Pre visualisation supv, Previsualisation by Persis
Addl visual eff/Laser film rec
Rec op
Operation mgr digital imaging
Rec supv
Rec coord
Opticals
DANCE
Choreog
Asst choreographer
Asst choreographer
Dance casting/Coord
Choreography dept coord
MAKEUP
Key makeup des
Key hair des
Makeup & hair dept coord/Makeup artist
Makeup artist
Makeup
Makeup
Makeup
Makeup
Addl makeup
Addl makeup
Addl makeup
Addl makeup
Addl makeup
Addl makeup
Addl makeup
Addl makeup
Hairstylist
Hairstylist
Hairdresser
Hairdresser
Hairdresser
Wig dept
Wig dept
Addl hair
Addl hair
Addl hair
Addl hair
Addl hair
Addl hair
Addl hair
Addl hair
Spec prostheses
PRODUCTION MISC
Casting
Australian casting
Extras' casting dir
Extras' casting supv
Extras' casting asst
Casting consultant--Australia
Casting consultant--UK/Europe
Casting asst--Australia
Addl post prod supv
Unit prod mgr
Unit mgr
Unit asst
Unit asst
Unit asst
Exec asst to Baz Luhrmann
Exec asst to Baz Luhrmann, development
Financial controller
Financial controller
Scr supv
Set prod asst
Prod coord
Post prod coord
Post prod coord, U.S. post prod
Asst prod coord
VFX and post prod asst
Travel coord
Travel/Post prod coord
Prod secy
Prod secy
Exec asst to Martin Brown
Exec asst to Fred Baron
LA asst to Fred Baron
Asst to Ewan McGregor
Asst to Ms. Nicole Kidman
Dialect coach
Prod and post prod accountant
Payroll accountant
Asst accountant
Asst accountant
Asst payroll accountant
Animal wrangler
1st aid officer
Physical therapist
Safety supv
Safety supv
Security
Security
Security
Security
Prod runner
Prod runner
Ms. Nicole Kidman's driver
Cast driver
Cast driver
Cast driver
Cast driver
Caterer
Caterer
Unit pub
Post prod facilities provided by
Prod asst, Asylum Visual Effects
Laboratory liaison
Laboratory liaison
Access equipment
STAND INS
Stunt coord
Addl stunt coord
Asst stunt coord
Dance double
Dance double
Acrobat double
Acrobat double
Voice double
Voice double
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts/Stunt rigger
Stunt rigger
Stunt rigger
Stunt rigger
Lighting stand-in/Action double
Lighting stand-in
Lighting stand-in
Lighting stand-in
ANIMATION
3D supv, Animal Logic Film
Lead TD/Anim, Animal Logic Film
Des/Anim, Animal Logic Film
3D senior anim, Animal Logic Film
3D senior anim, Animal Logic Film
3D senior anim, Animal Logic Film
3D senior anim, Animal Logic Film
3D anim, Animal Logic Film
3D anim, Animal Logic Film
3D anim, Animal Logic Film
3D anim, Animal Logic Film
3D anim, Animal Logic Film
3D anim, Animal Logic Film
2D artist, Asylum Visual Effects
2D artist, Asylum Visual Effects
2D artist, Asylum Visual Effects
3D artist, Asylum Visual Effects
2D/3D coord, Asylum Visual Effects
Senior 3D anim, Digital Filmworks
3D op, Mill Motion Control
Pre visualisation anim, Previsualsation by Persist
Pre visualisation anim, Previsualisation by Persis
SOURCES
MUSIC
Musical score includes portions of: “Gaite Parisienne,” arranged by Manuel Rosenthal, written by Jacques Offenbach
“Golden Bowls,” written and performed by Richard Karma Moffett, courtesy of Padma Tapes
“The Lonely Goatherd,” written by Richard Rodgers & Oscar Hammerstein II
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MUSIC
Musical score includes portions of: “Gaite Parisienne,” arranged by Manuel Rosenthal, written by Jacques Offenbach
“Golden Bowls,” written and performed by Richard Karma Moffett, courtesy of Padma Tapes
“The Lonely Goatherd,” written by Richard Rodgers & Oscar Hammerstein II
“Nature Boy,” written by eden ahbez
“One Day I’ll Fly Away,” written by Will Jennings and Joe Sample
“Tanguera,” written by Marianito Mores
“Voyage to the Moon” and “Orpheus in the Underground,” written by Jacques Offenbach
“Your Song,” written by Elton John and Bernie Taupin.
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SONGS
“Nature Boy,” written by eden ahbez, performed by John Leguizamo, produced by BLAM, Josh G. Abrahams and Craig Armstrong
“Complainte de la Butte,” music by Georges Van Parys, lyrics by Jean Renoir, performed by Rufus Wainwright, produced by Michel Pepin and Rufus Wainwright, Rufus Wainwright performs courtesy of DreamWorks Records
“Children of the Revolution,” written by Marc Bolan, performed by Marius DeVries, produced by BLAM, Josh G. Abrahams and Marius DeVries
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SONGS
“Nature Boy,” written by eden ahbez, performed by John Leguizamo, produced by BLAM, Josh G. Abrahams and Craig Armstrong
“Complainte de la Butte,” music by Georges Van Parys, lyrics by Jean Renoir, performed by Rufus Wainwright, produced by Michel Pepin and Rufus Wainwright, Rufus Wainwright performs courtesy of DreamWorks Records
“Children of the Revolution,” written by Marc Bolan, performed by Marius DeVries, produced by BLAM, Josh G. Abrahams and Marius DeVries
“The Sound of Music,” written by Richard Rodgers & Oscar Hammerstein II, performed by Ewan McGregor, produced by BLAM, Josh G. Abrahams and Marius DeVries
“Children of the Revolution,” written by Marc Bolan, performed by Ewan McGregor, Jacek Koman, John Leguizamo, Garry MacDonald, Kylie Minogue, Ozzy Osbourne and Matthew Whittet, produced by BLAM, Josh G. Abrahams and Marius DeVries, Kylie Minogue performs courtesy of Parlophone Records and Festival Mushroom Records, Ozzy Osbourne performs courtesy of Epic Records
“ZIDLER’S RAP (MEDLEY)” Featuring: “Zidler’s Rap,” written by Baz Luhrmann, Craig Pearce and Marius DeVries, performed by Jim Broadbent, produced by BLAM, Josh G. Abrahams and Marius DeVries
“Lady Marmalade,” written by Bob Crewe and Kenny Nolan, peformed by Christina Aguilera, Lil’ Kim, Mya and Pink, produced by Missy Elliott for Mass Confusion Productions, Inc. and Rockwilder for F-5 Productions, Inc., Christina Aguilera performs courtesy of the RCA Music Group, Lil’ Kim performs courtesy of Queen Bee Entertainment, Inc./Undeas/Atlantic Recording Corporation, Mya performs courtesy of A&M Records, Pink performs courtesy of LaFace Records
“Smells Like Teen Spirit,” written by Kurt Cobain, Chris Novoselic and Dave Grohl, produced by Danny Saber
and “Because We Can,” written by Norman Cook, performed and produced by Fatboy Slim, Fatboy Slim performs courtesy of Astralwerks/Skint Records
“SPARKLING DIAMONDS (MEDLEY)” Featuring: “Diamonds Are a Girl’s Best Friend,” written by Jule Styne & Leo Robin, performed by Nicole Kidman, Jim Broadbent, Natalie Mendoza, Lara Mulcahy and Caroline O’Connor, Natalie Mendoza performs courtesy of EMI Music Australia PTY (Limited)
and “Material Girl,” written by Peter H. Brown and Robert S. Rans, performed by Nicole Kidman, Natalie Mendoza, Lara Mulcahy and Caroline O’Connor, Natalie Mendoza performs courtesy of EMI Music Australia PTY (Limited), produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“Rhythm of the Night,” written by Diane Warren, performed by Valeria, produced by BLAM, Josh G. Abrahams, Marius DeVries and Alexis Smith, Valeria performs courtesy of Farmclub.com/Interscope Records
“Diamond Dogs,” written by David Bowie, performed and produced by Beck, Beck performs courtesy of Geffen Records
“Meet Me in the Red Room,” music by Marius DeVries, lyrics by Amiel Daemion, performed by Amiel, produced by BLAM, Josh G. Abrahams and Marius DeVries, Amiel performs courtesy of Festival Mushroom Records
“Your Song,” written by Elton John and Bernie Taupin, performed by Ewan McGregor and Placido Domingo, produced by BLAM, Josh G. Abrahams, Craig Armstrong, Marius DeVries and Patrick Leonard
“THE PITCH (MEDLEY)” Featuring: “The Can Can from Orphée aux Enfers ”, music by Jacques Offenbach
“The Pitch,” lyrics by Baz Luhrmann and Craig Pearce
“The Sound of Music,” written by Richard Rodgers & Oscar Hammerstein II
and “Your Song,” written by Elton John and Bernie Taupin, performed by Nicole Kidman, Ewan McGregor, Jim Broadbent, Jacek Koman, John Leguizamo, Garry McDonald, Richard Roxburgh and Matthew Whittet, produced by BLAM, Josh G. Abrahams and Marius DeVries
“Children of the Revolution,” written by Marc Bolan, performed by Bono, Gavin Friday and Maurice Seezer, produced by Richard “Biff” Stannard, Julian Gallagher, Bono, Gavin Friday and Maurice Seezer, Bono performs courtesy of Universal-Island Records UK
“ONE DAY I’LL FLY AWAY (MEDLEY)” Featuring: “One Day I’ll Fly Away,” written by Will Jennings and Joe Sample, performed by Nicole Kidman
and “Your Song,” written by Elton John and Bernie Taupin, performed by Ewan McGregor, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“Love Is Like Oxygen,” written by Andrew Scott and Trevor Griffin
“Love Is a Many Splendored Thing,” written by Paul Francis Webster and Sammy Fain
“ELEPHANT LOVE MEDLEY” Featuring: “All You Need Is Love,” written by John Lennon and Paul McCartney
“I Was Made for Lovin’ You,” written by Paul Stanley, Desmond Child and Vini Poncia
“One More Night,” written by Phil Collins
“Pride (In the Name of Love),” music by U2, lyrics by Bono and The Edge
“Don’t Leave Me This Way,” written by Kenneth Gamble, Leon Huff and Cary Gilbert
“Silly Love Songs,” written by McCartney
“Up Where We Belong,” written by Jack Nitzsche, Buffy Sainte-Marie and Will Jennings
“Heroes,” written by David Bowie and Brian Eno
“I Will Always Love You,” written by Dolly Parton
and “Your Song,” written by Elton John and Bernie Taupin, performed by Nicole Kidman, Ewan McGregor and Placido Domingo, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“Gorecki,” written by Andrew Barlow and Louise Rhodes, performed by Nicole Kidman, produced by BLAM and Josh G. Abrahams
“Like a Virgin,” written by Billy Steinberg and Tom Kelly, performed by Jim Broadbent, Richard Roxburgh and Anthony Weigh, produced by BLAM, Josh G. Abrahams and Marius DeVries
“Come What May,” written by David Baerwald, performed by Nicole Kidman and Ewan McGregor, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“EL TANGO DE ROXANNE (MEDLEY)” Featuring: “Roxanne,” written by Sting, performed by Ewan McGregor, Jose Feliciano, Jacek Koman and Richard Roxburgh, Jose Feliciano performs courtesy of Universal Music Latino
“Le Tango du Moulin Rouge,” music by Marianito Mores, lyrics by Baz Luhrmann and Craig Pearce, performed by Ewan McGregor, Jose Feliciano, Jacek Koman and Richard Roxburgh, Jose Feliciano performs courtesy of Universal Music Latino
and “Come What May,” written by David Baerwald, performed by Nicole Kidman, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“Fool to Believe,” written by Baz Luhrmann, Craig Pearce, Marius DeVries and Craig Armstrong, performed by Nicole Kidman and Jim Broadbent, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“The Show Must Go On,” written by Freddie Mercury, Brian May, Roger Taylor and John Deacon, performed by Nicole Kidman, Jim Broadbent and Anthony Weigh, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
“HINDI SAD DIAMONDS (MEDLEY)” Featuring: “Chamma Chamma,” written by Sameer, performed by Alka Yagnik, “Chamma Chamma” licensed courtesy of Dashmesh International Ltd.
“Diamonds Are a Girl’s Best Friend,” written by Jule Styne & Leo Robin, performed by Nicole Kidman, produced by BLAM, Marius DeVries and Steve Sharples
and “The Hindi,” written by Steve Sharples, performed by John Leguizamo, produced by BLAM, Marius DeVries and Steve Sharples
“Nature Boy,” written by eden ahbez, performed by David Bowie and Massive Attack, produced by Robert “3D” Del Naja, Neil Davidge and Craig Armstrong, Massive Attack performs courtesy of Virgin Records American, Inc./Virgin Records Limited.
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DETAILS
Alternate Title:
Moulin Rouge
Release Date:
18 May 2001
Premiere Information:
World premiere at Cannes Film Festival, Cannes, France: 9 May 2001
Los Angeles premiere: 16 May 2001
Production Date:
late October 1999--late April 2000 at Fox Studios Australia, Sydney
Copyright Claimant:
Twentieth Century Fox Film Corporation
Copyright Date:
22 May 2001
Copyright Number:
PA0001033100
Physical Properties:
Sound
Dolby Digital; Digitally THX Mastered; DTS Digital Sound in selected theatres
Color
gauge
35mm
Widescreen/ratio
Panavision
Lenses/Prints
prints by DeLuxe; colour and prints by Atlab Australia; Kodak Motion Picture Film
Duration(in mins):
126 or 128
MPAA Rating:
PG-13
Countries:
Australia, United States
Language:
English
PCA No:
37977
Passed by NBR:
No
SYNOPSIS

In 1900, young English poet Christian sits in his room in the Montmartre district of Paris and begins to write about his love affair with Satine, the star of the notorious Moulin Rouge nightclub: A year earlier, the idealistic Christian ignores his father’s advice and moves to Montmartre to join the Bohemian revolution that has swept through Europe. Eager to write about truth, beauty and freedom, but above all else, love, Christian realizes that he cannot because he has never been in love. At that moment, an Argentinean, unconscious from a bout of narcolepsy, crashes through Christian’s ceiling. The Argentinean is joined by his friends--Henri de Toulouse-Lautrec, the Doctor, Audrey and Satie--who are rehearsing Spectacular, Spectacular , a musical play espousing their Bohemian ideals. The group persuades Christian to stand in for the Argentine, and when Christian surprises them with his talent, Toulouse suggests that he write the play with Audrey. Audrey leaves in a huff, but the remaining Bohemians persuade Christian that despite his inexperience, he must write their play, which will be staged at the Moulin Rouge. In order to persuade Harold Zidler, the club’s impresario, to hire Christian, Toulouse schemes to get Christian a private audience with Satine, who is known as “The Sparkling Diamond.” To stiffen Christian’s resolve, Toulouse plies him with absinthe, and, fueled by the hallucinogen, Christian enters the Moulin Rouge. Dancers such as Nini Legs in the Air, Arabia, China Doll and Môme Fromage take the stage, and Christian joins the throng of wildly gyrating men. Christian is awestruck by Satine’s entrance as she is lowered from the rafters on a trapeze, and while she performs, Zidler whispers to ... +


In 1900, young English poet Christian sits in his room in the Montmartre district of Paris and begins to write about his love affair with Satine, the star of the notorious Moulin Rouge nightclub: A year earlier, the idealistic Christian ignores his father’s advice and moves to Montmartre to join the Bohemian revolution that has swept through Europe. Eager to write about truth, beauty and freedom, but above all else, love, Christian realizes that he cannot because he has never been in love. At that moment, an Argentinean, unconscious from a bout of narcolepsy, crashes through Christian’s ceiling. The Argentinean is joined by his friends--Henri de Toulouse-Lautrec, the Doctor, Audrey and Satie--who are rehearsing Spectacular, Spectacular , a musical play espousing their Bohemian ideals. The group persuades Christian to stand in for the Argentine, and when Christian surprises them with his talent, Toulouse suggests that he write the play with Audrey. Audrey leaves in a huff, but the remaining Bohemians persuade Christian that despite his inexperience, he must write their play, which will be staged at the Moulin Rouge. In order to persuade Harold Zidler, the club’s impresario, to hire Christian, Toulouse schemes to get Christian a private audience with Satine, who is known as “The Sparkling Diamond.” To stiffen Christian’s resolve, Toulouse plies him with absinthe, and, fueled by the hallucinogen, Christian enters the Moulin Rouge. Dancers such as Nini Legs in the Air, Arabia, China Doll and Môme Fromage take the stage, and Christian joins the throng of wildly gyrating men. Christian is awestruck by Satine’s entrance as she is lowered from the rafters on a trapeze, and while she performs, Zidler whispers to her that the wealthy Duke of Monroth is in the audience. Satine, a courtesan, is fearless in her determination to seduce the Duke and obtain his help in becoming a legitimate actress, but mistakes Christian for the real duke. Toulouse sneaks Christian into Satine’s boudoir, which is shaped like a giant elephant, and there, Christian recites poetry to the courtesan. Satine is baffled by his shy reaction to her attempted seduction, but when Christian sings a song about his feelings for her, the couple fall in love. As they are embracing, however, Satine learns that Christian is merely one of Toulouse’s penniless protégés. As she attempts to usher Christian out, Zidler approaches with the Duke, and Satine is forced to hide Christian. The Duke is mystified by Satine’s erratic behavior, but is so consumed by lust that he is swayed by her repetition of Christian’s poem. When Satine begins to make love to the Duke, however, a glare from Christian persuades her to throw the Duke out with a promise to consummate their relationship on the show’s opening night. Unknown to Satine, she is suffering from consumption, and the exertion causes her to collapse. The Duke re-enters to find Satine in Christian’s arms, and it is only through the Bohemians’ quick action that she is able to persuade him that they are rehearsing Spectacular, Spectacular . After convincing the Duke to invest in the show, which tells the story of a Hindu courtesan who must chose between a penniless sitar player and a rich maharajah, the Bohemians celebrate, while Christian is preoccupied by thoughts of Satine. Christian returns to Satine’s boudoir, and although she protests that she was acting when she proclaimed her love for him, she succumbs to his charming words. The next morning, the Duke demands that in exchange for his financial backing, Satine be bound to him exclusively, and that Zidler put up the deed to the Moulin Rouge as security. Zidler reluctantly agrees, and so begins an intense and happy period of rehearsals. While continuing to tempt him, Satine eludes the Duke’s advances in order to spend time with Christian, always on the pretext of working. Meanwhile, Toulouse, who is to play the magical sitar, struggles to learn his one line: “The greatest thing you’ll ever learn, is just to love, and be loved in return.” After several weeks, the Duke grows impatient and warns Zidler that if he cannot possess Satine soon, he will depart. As Zidler cajoles the Duke to stay, he spots Satine and Christian kissing, and promises that Satine will come to the Duke that night. After Christian plans a rendezvous with Satine for that night, he leaves, and Zidler storms up to Satine, ordering her to end her relationship with the writer. Satine collapses, however, and while Christian and the Duke wait for her, she languishes under a doctor’s care. Zidler is able to persuade the Duke that Satine, anxious to come to him “like a virgin,” is confessing her sins to a priest, but after he returns home, Zidler learns that Satine is dying. The next morning, the jealous Christian has difficulty accepting Satine’s explanations, and she attempts to end their affair. Christian promises to control his jealousy, however, and composes a song to signal that they will always love each other, “come what may.” Swept away by Christian’s passion, Satine relents, although during a rehearsal, the envious Nini hints to the Duke about Satine’s romance, which is illustrated in the show when the courtesan chooses the sitar player over the maharajah. The Duke then demands that the ending be changed, and in order to protect her friends, Satine agrees to dine with him. Christian pleads with Satine not to sleep with the Duke, but she reminds him of their vow to love each other come what may, then leaves. While the entertainers wait at the club, the Duke lavishes a diamond necklace on Satine and agrees that Zidler can keep the show’s “fairy tale” ending. While standing on the balcony, however, Satine sees Christian in the street and cannot bear to have sex with the Duke. The angry Duke’s attempt to rape Satine is forestalled by a blow from Le Chocolat, one of the club’s performers, who takes Satine to Christian. While Satine and Christian are planning to run away, the Duke warns Zidler that his servant, Warner, will kill Christian if Satine sees him again. When Satine returns to the Moulin Rouge to pack, Zidler tells her of the Duke’s threat, and when that does not stop her, informs her that she is dying. Heartbroken, Satine agrees that the only way to save Christian is to hurt him, and so lies to him that she is choosing the Duke. Despite her failing health, Satine goes on with the show, while Christian, determined to learn the truth, sneaks into the club. Christian confronts Satine and demands that he be able to pay her, like her other customers, and follows her backstage. Just as Warner is about to shoot Christian, the curtain rises and Christian and Satine find themselves onstage. Christian tosses Satine to the ground and throws money at her, then tells the Duke that she belongs to him. As Christian walks away, however, Toulouse remembers his line and shouts it out. The weeping Satine then begins to sing their love song, and Christian rejoins her onstage. The audience roars with approval as the lovers embrace, and Warner’s attempt to shoot Christian is foiled by a dancer. The Duke seizes the pistol but is punched by Zidler and leaves. After the curtain falls, Satine collapses, and as she dies, makes the sobbing Christian promise to write their story. Back at his room, Christian concludes that after overcoming his grief, he was inspired to write the story of their love, a love that will live forever. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.