Set in northern Australia before World War II, an English aristocrat who inherits a sprawling ranch reluctantly pacts with a stock-man in order to protect her new property from a takeover plot. As the pair drive 2,000 head of cattle over unforgiving landscape, they experience the bombing of Darwin, Australia, by Japanese forces firsthand.
In 19th-century France, Jean Valjean, who for decades has been hunted by the ruthless policeman Javert after breaking parole, agrees to care for a factory worker's daughter. The decision changes their lives for ever.
The year is 1899, and Christian, a young English writer, has come to Paris to follow the Bohemian revolution taking hold of the city's drug and prostitute infested underworld. And nowhere is the thrill of the underworld more alive than at the Moulin Rouge, a night club where the rich and poor men alike come to be entertained by the dancers, but things take a wicked turn for Christian as he starts a deadly love affair with the star courtesan of the club, Satine. But her affections are also coveted by the club's patron: the Duke. A dangerous love triangle ensues as Satine and Christian attempt to fight all odds to stay together but a force that not even love can conquer is taking its toll on Satine... Written by
"Come What May" was written by David Baerwald for Romeo + Juliet (1996) but not used. In Moulin Rouge! (2001), it is newly written for the stage show by Christian. It is the only completely original song in the entire film. However, because it was written for another film, it was disqualified for the Oscars' Best Song award. See more »
When one of the Bohos is swinging on the chandelier during "the pitch" in the elephant, he is being pushed by a crewmember wearing a wristwatch and a baseball cap. See more »
Can you say "technicolor vomit?" The idea for this film actually has a lot of potential: Take a mish-mash of modern pop songs and blend them together in a creative way to create a romantic musical. But what do we get here? An annoying nightmare of sound and sight that almost drove me from the theater. This film is more chopped up than the vegetables in a Beni Hanna stir fry. Luhrmann never focuses on one scene for more than a few seconds and when he does, the computer enhanced colors make the screen incredibly difficult to look at. The music has moments of creativity, as when "Smells Like Teen Spirit" is blended together with "Diamonds are a Girl's Best Friend", but all of the scenes come across as little more than videos, not pieces creating a coherent whole. With respect to the choice of songs: Gosh, can you get more random, Boz Luhrmann? I mean, I actually feel like Luhrman put a couple hundred song titles in a hat and just chose them at random. Very strange. And I enjoyed Ewen McGregor's singing for about an hour (I found myself singing "Your Song" with him at the beginning of the film), but then it started to get annoying. And Nicole Kidman...what can one say except, "Yuck." Ever since I saw her in that Battman movie, she just bugs, bugs, bugs. And I was listening to a PJ Harvey tape in my car on the way home from the theater thinking that Harvey would have been a great choice for the part of Seline. But she probably wouldn't have been interested in such an artless film. Finally, why o why does every big budget movie that is set in France have people speaking with British accents? Is this some kind of unconscious Hollywood rule? Or couldn't Luhrmann find anyone with French accents to play in this film? Man, the French must have torn this thing up at Cannes. "I hope you don't mind, I hope you don't mind that put down in words how terrible this film is while it's in this world."
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