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Moulin Rouge (1952)

Not Rated | | Biography, Drama, Music | 23 December 1952 (USA)
Fictional account of French artist Henri de Toulouse-Lautrec.

Director:

Writers:

(novel), (screenplay) | 1 more credit »
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Won 2 Oscars. Another 4 wins & 10 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Henri de Toulouse-Lautrec / Count Alphonse de Toulouse-Lautrec - his father
...
...
...
Claude Nollier ...
Katherine Kath ...
Muriel Smith ...
Mary Clare ...
Walter Crisham ...
Harold Kasket ...
...
Lee Montague ...
...
...
Aicha's Partner
Jill Bennett ...
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Storyline

Henri de Toulouse-Lautrec frequently visits the Moulin Rouge, where he drinks cognac and draws sketches of the dancers and singers. Though the son of a French count, Henri's legs were badly deformed by a childhood fall, and his personal life is often unhappy as a result. While he is going home one night, a spirited young woman of the streets, Marie, asks him for help. He falls in love with her, and the two become involved in a tumultuous relationship. It becomes increasingly difficult for Toulouse-Lautrec to balance his personal feelings, his artistic abilities, and his family name and position. Written by Snow Leopard

Plot Summary | Add Synopsis

Taglines:

Wild, wicked, wonderful Paris...all her loves, ladies and lusty legends! See more »


Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

23 December 1952 (USA)  »

Also Known As:

Мулен Руж  »

Box Office

Budget:

$1,500,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Walking on his knees had the unfortunate side-effect of making José Ferrer six inches shorter than Henri Toulouse Lautrec's real height of 5'1". See more »

Goofs

When Henri Lautrec arrives at the gallery for the showing of his pictures, as he 'walks' in, his shadow on the ground clearly shows Ferrar's legs tucked behind him as he walks, (in on his knees). See more »

Quotes

Georges Seurat: Drink your drink, Henri, and then we will go to the Louvre and refresh our souls, eh?
Henri: The Louvre. That graveyard.
Gauzi: Graveyard! The home of the Mona Lisa, and he calls it a, a graveyard!
Anquetin an Artist: Ah, the Mona Lisa. Only the greatest painting in the world. At this moment I could kneel down and give thanks to Leonardo.
Henri: And how do you know it is the greatest painting in the world? And how do you know it was by Leonardo?
Anquetin an Artist: Because I feel it! I feel it here, in my heart.
Henri: I feel in my heart that you are a pompous ...
[...]
See more »

Connections

Referenced in Vincent Price: Working with Vincent Price (2007) See more »

Soundtracks

Can-Can
(reprise) (uncredited)
from "Orpheus in the Underworld"
Music by Jacques Offenbach
Arranged by Lambert Williamson
See more »

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User Reviews

 
PROFOUNDLY MOVING and BRILLIANT; Ferrer was never better!
4 June 2001 | by (Brooklyn NY) – See all my reviews

With the appearance of the 2001 movie entitled "Moulin Rouge" (see review) I went back to the Jose Ferrer version to add a review of it. Note that both films are entirely different in style and purpose; to equate them is to compare apples to pineapples.

This version, so well directed by John Huston, is not a wild frenetic musical but a very touching and moving character study of the great artist Henri Toulose-Lautrec, whose legs were badly mishappen and shortened by an accident early in his life leaving him basically a midget. His frustration at his appearance, and unattractiveness to women, forever scarred his short life that was curtailed by drink and other excess. Jose Ferrer was superb as this tortured yet brilliant soul; Ferrer also played expertly Henri's powerful father descended from French nobility.

"Moulin Rouge" began with a long scene in the club itself filled with dancing, exciting music, beautiful women, good friends,and lots of drink. The sets and costumes and were colorful and beautiful. After about half an hour we follow Henri home - and we see him, alone, so short and vulnerable, walking all alone through the dark streets of Paris. The contrast was most effective. Such was the REALITY of Henri's life. The remainder of the film focused on his unsatisfactory relationship with a prostitute he befriends, along with flashbacks to his privileged wealthy childhood.

Perhaps the most emotional scene was at the end. With Henri dying in his bed his father there tells him that he is the first living artist to be honored by having his work displayed at the Louvre. As he appealed for forgiveness for his previously harsh treatment, saying "I didn't understand", all Henri's old friends from the Moulin Rouge, as spirits (or hallucinations), visited him.

Like with the fine movie about Van Gogh, "Lust for Life", this even better movie is not necessarily always true to historical fact, but it is a cinematic classic.

HIGHLY RECOMMENDED!






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