Moulin rouge film genre analysis

Moulin Rouge

Luhrmann and his writing partner Craig Pearce began brainstorming Moulin Rouge. The necklace, which features diamonds and a 2. In this scene, the connections with the theatre have been utilized with great effect using only a violin As linked when used in Latin music genre with lust which is very obviously a key theme in this piece and a piano to give the impression of the presence of an orchestra.

If he goes back to Satine, however, as he does, he will not have abandoned his ideals of love, but he also will have learned something, and be able to move on eventually, out of the underworld. Conclusion In conclusion Baz Luhrmann Does a simply incandescent job of manipulating all of the techniques at his disposal to create a dramatic masterpiece.

He rather simply places those symbolic shades before us and allows the subconscious of the audience to do the rest of the work for him. But, overcome with fear and doubt that the untrustworthy King of the Underworld was tricking him, he looked back just before they reached the surface, and she was lost to him forever.

All the rest remains to be done, to be thought about. No, the greatest part of the manipulation from this aspect is the double overlay of the pieces from both the Argentinean and Christian telling the story from two sides, one as a knowledgeable man with the wondrous gift of hindsight, the other; from the viewpoint of the man in the story.

Montmartrewhich, at the heart of an increasingly vast and impersonal Paris, retained a bucolic village atmosphere; festivities and artists mixed, with pleasure and beauty as their values. She dies onstage, but behind the closed curtain, in front of an audience, but the audience are performers. The parallels between the Tango downstairs and the dinner with Satine and the Duke upstairs are brilliantly brought out as the tension builds.

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. And it was three-and-a-half hours.

The emotions in the scene are portrayed in the most primal, yet effective ways, noise. When used effectively, as I feel it is here, this sort of editing is very good at conveying emotions and feelings, over the plot and individual characters. The music follows the story line laid down by the lyrics, powerful at the beginning as the message hits Christian with full impact, following the specifications of the Latin genre.

The Duke, in the beginning is cast with a foreboding shadow about him, fully illuminated but with the darkness in the room about his person and emphasised with his pale complexion and dark clothes giving him an almost disembodied look, of course, as the sequence progresses the shadows become more prominent as his intentions become enraged and far from noble.

The other use for this technique could be that the director wanted to portray the dark, debauched nature of the message behind the song.

Sound The line betwixt diegetic and non-diegetic is very blurred in this scene. They are obvious in the least obvious and most unobtrusive way.

Camera angles Again, Mister Luhrmann shows his creative genius here, using very few long frame sequences he keeps the scene moving, in addition the camera is scarcely still, much akin to the Latin dancers on screen which, in my opinion portrays not only the ever moving spirit of this genre of dance, but adds a depth to the scene with the ever moving torrent of emotion that overwhelms the main Characters.

The love-triangle between Christian, Satine, and the Duke is paralleled sub-textually by the triangle of art, sex, and commerce. The other use for this technique could be that the director wanted to portray the dark, debauched nature of the message behind the song.

They are obvious in the least obvious and most unobtrusive way. Satine however is always can with light upon her face, being the victim in this scene the light acts to flush out her features as to further emphasise her role as the victim.

Excised from the final draft was a scene in which Christian, Satine, and Toulouse-Lautrec go to the estate of the German aristocrat Count von Groovy and participate in an absinthe- and opium-fueled orgy with Isadora Duncan, Sarah Bernhardt, and Oscar Wilde.

The evening dances, the acts, and the famous French cancan are back at the Moulin Rouge. Together, Satine and Christian, with their passionate but ultimately doomed affair, embody the star-crossed lovers. The silhouettes — I refer to the extras and non-essential characters to the scene in the simple sense that they are cast in darkness with just their shapes visible, of course, rather naturally one would assume that this is to keep the room full whilst keeping the attention of the audience upon the protagonist and the story teller.

When I was in India researching Midsummer Night's Dreamwe went to this huge, ice cream picture palace to see a Bollywood movie. Similarly the characters are dressed in specifically selected attire to maximise the effect of this boundless resource; but an interesting case is the Argentinean with his Red waistcoat, throughout this scene and more so; during the dance, that block of red takes on different meanings, lust, love, anger, rage, and aggression, all throughout the movements of the tango with the support of colour.

Overall, the sections of lighting, setting and style of acting, contained within the mise-en-scene unit, makes the scene from Moulin Rouge seem like a very dramatic movie. The first of the two settings in this number is the dance hall. The genius of using these pre-existing songs lies in the fact that they all sound as though they were written specifically for the film.

When thunder crashes in the background, or the last leaf falls from a tree, everyone knows what that means. Luhrmann passed on Jake Gyllenhaal, even though he was able to sing complicated Sondheim works. Or, in my subjective opinion, could be a calm representation of the emotional rollercoaster experienced by his character.

This necessitated some pick-up shots being filmed in Madrid. He enchants the king of the underworld, Hades, with his poetry, and was then allowed to take his true love back to the upper world with him—on the condition that he trust she was following him, and not look back until they were out of the underworld.

Moulin Rouge!

(/ ˌ m uː l æ n ˈ r uː ʒ /, from French: [mulɛ̃ ˈʁuʒ]) is a Australian-American jukebox musical romantic comedy film directed, co-produced, and co-written by Baz tells the story of a young English poet/writer, Christian (Ewan McGregor), who falls in love with the star of the Moulin Rouge, cabaret actress and courtesan.

The film Moulin Rouge is a musical that embodies the basic characteristics of genre films in terms of being dualistic, repetitive, cumulative, predictable, nostalgic, and functional; like other genre films, it fulfills its purpose of entertaining the audience by having cultural and countercultural values clash but still pleasing the viewers via.

Analysis of Filmic techniques and construction In Moulin Rouge - Free download as Word Doc .doc), PDF File .pdf), Text File .txt) or read online for free.

Scribd is the world's largest social reading and publishing site.5/5(1). May 24,  · It realized that the world of film is only being represented in one small way, whereas Moulin Rouge uses a camera and screen to make something bigger and more extraordinary than has ever been made before/10(K).

In Moulin Rouge!, Christian is Orpheus, trying to save the dying Satine by getting her to escape the Duke and the Moulin Rouge.

OSCAR WILDE WAS INITIALLY GOING TO MAKE A CAMEO. Analysis of Movie Moulin Rouge In this essay I will be analyzing in depth four scenes from Baz Luhrmann's critically acclaimed Moulin Rouge that was released in I will be analyzing the opening sequence, the sequence in the Moulin Rouge itself, the two dancing sequences 'Like a Virgin' and 'Tango Roxanne' and the final scenes of the film.

Moulin rouge film genre analysis
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Moulin Rouge-Analysis