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A young soprano becomes the obsession of a disfigured musical genius who lives beneath the Paris Opéra House. He kidnaps the soprano and forces the owners of the play to keep her as the lead role of the play.
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 forever.
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.
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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
The music most asociated with the Can Can dance, which is also used in this movie, comes from Jacques Offenbach's 1858 operetta "Orfée aux enfers" ("Oroheus in the Underworld"). It is called "The Infernal Galop." A galop is a fast country dance introduced to Paris society in the 1820's by the Duchesse de Berry. See more »
As Christian sings "Come What May" to Satine during the rehearsals he wears a brown hat. In closeup shots of Christian, he doesn't wear the hat but in all the long shots the hat is on. See more »
The ending credits are printed on two (very long) hand painted rolls of paper. The camera is still while the paper is scrolled past. The place where the two pieces are joined is clearly visible. The crew tried to hide the splice, but couldn't make it look good enough, and so decided to keep it as seen in the movie. See more »
This is a musical for people who don't like musicals.
This was easily one of the best movies I've seen in years. Rarely do movies have a visual force capable of stunning you into rapt silence; and even more rare are films able to further this with a soundtrack that can move you and ensnare you as well, if not better, than the images. Yet some how, through genius, magic, luck, or some combination, Moulin Rouge has managed to do both. In truth Moulin Rouge is a fusion of two fabulous films into one. A film of images capable of conveying meaning without dialog or music, and a film which you could feel and understand with out needing to see it. Much effort was obviously spent on both the visual and audio aspects of this film, and by choosing not to focus on one over the other, and sacrifice the songs for the story or vice versa, the filmmakers were able to make a truly unique, modern musical which those of us who have hated musical since childhood could enjoy. Moulin Rouge is a blend of old, established techniques with innovative experimental ones, resulting in a movie which could only have been made in our time, yet which has a classic feel. The acting is wonderful, the mixture of modern songs is ingenious, and the cinematography is at times simply amazing. The end result is a stunning film with unbelievable performances; a cinematic experience that people will be loving, analyzing and trying to imitate for year.
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