MOULIN ROUGE: DVD

SYNOPSIS:
In turn of the century Paris, aspiring poet Christian (Ewan McGregor) arrives in bohemian Montmartre, home of the famous Moulin Rouge nightclub/bar/brothel. Befriended by painter Henri Toulouse-Lautrec (John Leguizamo) Christain finds himself writing a musical play that will be performed at Moulin Rouge, starring Paris' most famous courtesan, Satine (Nicole Kidman), who has ambitions of becoming a serious actress. Christian and Satine fall in love but their happiness is threatened by The Duke of Worcester (Richard Roxburgh), whose financial support for the production and the installation of a theatre at Moulin Rouge are conditional on his exclusive access to Satine.

Packaged and presented in the same passionate style and careful attention to detail as that which drove the film’s making, this is a connoisseur’s DVD, a film lover’s DVD – a lover’s DVD. It is after all, dedicated to love – above all things. ‘The greatest thing you’ll ever learn is just to love and be loved in return.” Those words from Nature Boy (originally and unforgettably recorded by Nat King Cole) written by Eden Ahbez, are the only words emblazoned in gold on the back cover of this sumptuous red and gold box. (I am listening to David Bowie’s version from the Moulin Rouge soundtrack as I write. Strangely enough, the song has been a favourite of mine since about 1964.) Inside the box are the two discs that comprise a pretty complete offering – see Special Features (above) for the list.

The film itself: well, here is (some of) what I wrote after seeing it at the world premiere at the Cannes Film Festival in May 2001: “Filled with a fusillade of images, an eclectic list of songs – plus doses of hyper-reality - Moulin Rouge is a seductive and original film, a turbocharged tribute to romanticism. Often daring in a readiness to push the concept to its ultimate, the film is chockers with diverse elements that would defy a lesser filmmaker, ranging from kitsch and camp to romance, idealism, melodrama and overstatement.”

Now – the DVD treasures. First off, I’ll assume you’ve seen the film. If not, go off and see it now. Done? Good. You’ll no doubt remember the opening moments with the conductor manically driving the Fox orchestra in their familiar, triumphant ID piece. This is the point at which Baz Luhrmann explains why it was important to signal to the audience from the outset that they are participating in the movie. He says it signals that “this is not about naturalism…” He also talks about the epic nature of the undertaking. I remember thinking at the time that this treatment of the 20th Century Fox logo was a stroke of genius –it introduced us to the mid set and mood of the film. As McAlpine says, “we hoped the audience would get it…”

There is some remarkably frank remarks – open uncertainties of the creative process that takes us inside Baz and his team. And it’s important to recognise Baz Luhrmann’s inclusive way of working: he is a creative vacuum cleaner, not a bulldozer.

Baz, Catherine Martin and Don McAlpine share this first commentary from the production and direction pov. They reveal what was real what was not and why and how and how difficult and how complicated. And especially how they all kept pushing and pushing into this ridiculous, heightened world. People who don’t get this, are left behind by the film. As for the pace and the dynamics, choice of shots and editing - “It’s an active choice to slap the audience around – keep up!” says Baz.

Then there are the asides that suggest there are stories yet to to be told from the production: like the shoot in Madrid (!) with Ewan McGregor; the various airlines that wanted different things cut out (Kama Sutra statutes, for example). . .

Behind the Red Curtain is a series of short featurettes accessed via a green fairy on the screen. Green like absynth, of course. It’s a clever little gimmick and opens the door to some additional background. Cute, too. At the end of each featurette, we are returned to the film. There is a really melancholy moment in the footage where the elephant (and rest of the set) is destroyed by great big ugly machines at the end of the shoot.

On the second commentary (Disc One), Baz is joined by his friend and writing partner of 20 years, Craig Pearce. The camaraderie and the turmoil of creative process is revealed in casual detail. It’s a rare insight – not enough writers get onto DVDs.

On Disc Two, a wicked and wild half hour doco on the making of the film uses star interviews and clips intercut in Bazmark style. Nothing is dull on these discs. It has energy, dynamic push and brio.

There are other secrets and surprises in store on Disc Two, like abandoned edits and unseen footage, a previsualisation of the absynthe-driven Sound of Music / Green Fairy sequence – but not with Kylie as the fairy, and some fun items with Baz himself voicing dialogue for the actors (for very practical reasons – see Director’s Mock Previsualisations).

Although editor Jill Bilcock couldn’t be included in the commentary tracks (she is always working), at least there is an interview with her for the editing featurette. Unassuming and down to earth, she deserves all the accolades Baz Luhrmann throws her way.

Multi-angles for several sequences (great fun watching all four cameras at once, too), extended scenes (Hindi is exceptional) and much, much more. It really is a rich and satisfying weekend’s worth. As Baz remarks on this section, thanks to DVD, a lot of the footage that was lovingly, painstakingly shot but cut out of the final film can still stay in the public domain.

Because in the end, this DVD is above all (about love…) a profound testament to the collaborative creative spirit at Bazmark and the depth of talent required to create a film so complex and so ambitious. And so entertaining.
Andrew L. Urban

Published: December 6, 2001

DVD RELEASE: December 5, 2001

PRESENTATION:
Widescreen version 2.35:1 – 16:9 enhanced; DTS, Dolby Digital 5.1

DISC ONE:
Production commentary with Baz Luhrmann, Catherine Martin, Don McAlpine; writers’ commentary by Baz Luhrmann and Craig Pearce; Behind the Red Curtain feature;

DISC TWO:
Uncut dance sequences; multi camera angles for Tango, Can Can, Coup d’Etat; behind the scenes featurette, music video clips, stills gallery, previsualisations

BOX EXTRA:
An eight page colour brochure with details of the special features, and notes by Baz Luhrmann about the making of the DVD; single page flyer on the music from the film, with tracklist