Moulin Rouge! **** out of ****

The first time I watched this, I wasn't in the right frame of mind. The thing I wished I understood was that absolutely nothing in this movie is original by any means- the way in which everything is presented gives it its originality. It reminded me of those pictures that are really a couple hundred individual pictures mashed together to create a giant greater work. When looking at it from a distance, you can't see what is really special about it. You have to look deeply as this is a very deep film as well as the best definition of a "Post-Modern Musical," although no one really seems to know what the hell a "Post-Modern Musical" really is.

This is a hybrid of three brilliant operas filled with only one original song, the touching "Come What May." The rest have been done earlier (ranging from "Diamonds are a Girl's Best Friend" to "Like a Virgin"). However, in order to understand the film, you must understand the operas upon which it is based. The first is "La Vie de la Boheme," the opera upon which the musical "Rent" was based. It handles the storyline of a writer falling for a terminally ill woman as well as a couple other minor motifs. "La Traviata" shows us the details of the most important aspect of the movie, love. Love is shown as both an incredibly real feeling and relationship amongst two people but also as naive and childish. Finally, the story of Orpheus is presented (the opera is "Orpheus in the Underworld"). In mythology, Orpheus' wife, Persephone, was kidnapped by Hades and taken into the underworld where Orpheus journeys to rescue her. In the myth, Persephone falls for Hades, leaving Orpheus powerless.

I won't reveal how exactly these three shows merge, but what I can say is that despite the fact that I was convinced I was on an acid trip during the beginning, the characters and situations within the script were very real and very true. I'm not suggesting that some of the movements are possible, I'm simply stating that the feelings they have for one another, the underlying circumstances, and above all, the characterizations were unique and extraordinary, especially in what is thought of as a 'love story.' Sure, there is love in the plotline (according to www.imdb.com, the word 'love' and its derivatives occur 143 times throughout the movie), but what elevates it is the greater concept present.

Opening and closing with the gorgeous 'Nature Boy,' we are taken into a very daring vision of what entertainment can be. It is risky because the song is a classic, and if it's performed or used badly, the desecration will not be misremembered. What this perfect movie-musical shows us is that perhaps nothing is original, but what makes it original and non-cliche is the execution. It is done with such style, grace, and brilliance that when I walked away from it, I had to remember that I was back in my world, not theirs. It is absorbing, goofy, and filled with lessons on competent writing and direction.

The performances are truly remarkable. Ewan McGregor shows us the Nature Boy named Christian as many things but never overly simple. Don't get me wrong- there is a simplicity in his character, but that adds to his charm. This is probably the only time that I believe that a main actor not digging too deeply is a success. McGregor handles the role perfectly.

Nicole Kidman is an actress I have always admired, but what she shows here is something I haven't seen before and probably will never see again because it is so unique. I've watched her perform in comedies, dramas, dramadies, thrillers, horror movies, children's films, bit parts, and through most other means, but no role she's performed is as unique as her Satine. She has wonderful singing chops I never could have imagined, and wherever the director goes, she's there. Normally, this kind of performance would call for a de-glam, but that was not necessary for this film. What makes everything work is her sheer commitment to the project.

I have two favorite parts of the movie. The performance of 'Spectacular Spectacular' was filled with such a goofy sense of humor and took a very familiar melody and placed it in a new context (Surprise! That's what the movie's all about!). However, nothing beats, in my opinion, the suspense, beauty, tragedy, drama, and musicality of their version of 'Roxanne' by The Police. That scene is one for the musical time capsule. I can't even describe the scene to do it justice.

Other accomplishments include taking bad songs and making them great. A fine example of this is the torturous 'I Will Always Love You' from the multiple Razzie-nominated movie, "The Bodyguard." In Whitney Houston's version, she starts at the climax and continues for around four minutes, making it unbearable. In "Moulin Rouge!", it is divided into a duet between Christian and Satine, given room to build, and shown in a way that makes perfect sense.

Above all, this movie is a love-it or hate-it experience, but the literary value, vision, and performances kept everything working for me. It's easy to feel mauled by what's happening onscreen, and this movie is simply not for everyone. It certainly transports you into another world, but whether or not you want to take the journey is up to you. If the first twenty or so minutes don't appeal to you, I advise you to just stick it out. The finale has serious bite.

Rated PG-13 for sexual content.
Buy it here.