The home of Ally McBeal and Bart Simpson, to name but two.WARNING: This page contains slow loading images, interminable music background downloads, and gushing "fan style" praise disguised as critical commentary. There are also numerous images , songs, and dialogue which is the property of the 20th Century Fox Studios, and is currently being used pending permission.




Complete Essay Text


Composite Images

Come What May

"Come what may, I will love you till my dying day.


This is an UNOFFICIAL "Moulin Rouge" site. The actual site still looks pretty much the same, so stick around for awhile.

Thank you for visiting this unofficial journey behind the Red Velvet Curtain and into the heart of "The Moulin Rouge", my pick for Best Picture of the year in a year when humanity needs a movie like "Moulin Rouge". This is one of my "overnight pages", although it's taken the better part of the Holiday weekend to construct, not to mention writing the lengthy essay I hope you read, and I'm presenting it almost complete, with a composite image page, discussion board, and links to the official site and some selected fan sites. The heart of the site, of course, is the treatise below, which is continued on the essay page. I set out to tell everybody just how wonderful and enlightening the movie is, and I got rather carried away, but I hope it might inspire people to go see the movie. Thanks for listening.
Michael F. Nyiri
poet, philosopher, fool, and sometime movie critic

 "The greatest thing you'll ever learn is just to love, and be loved in return."

The original ElectricMovies "Moulin Rouge" Review




Sunday Dec. 23 and Monday Dec. 24, 2001
started 6:40am pst on the 23 and finished 11:05pm pst Christmas Eve.

The Buzz Starts Here

The Best film of 2001
by Michael F. Nyiri

"My top five films of 2001"

As this particularly disturbing and eerie year draws to a close, popular entertainment hasn't been on anyone's mind much, in light of current events. It is the beginning of "Awards season" however, and I want to make my predictions for the Academy Awards, and/or list my five favorite films of 2001, and I want to specifically make a case for the singular film which not only deserves the Academy Award this year for Best Picture, a film I've "touted" since I first saw it, but a film which I'm positively certain is possibly the most important first work of the new Millennium.

I have always said I merely want to be entertained when going to the movies, and I enjoy most of what I choose to see because I am entertained. If, in the course of being entertained, I am enlightened and enriched, or if I am allowed to glimpse hidden layers within the human experience because of the artistic merits of one film or another; to taste those added pleasures is rich icing on the cake of the moviegoing experience. The best films not only entertain, but enrich. The director and his creative team formulate a work of art which far surpasses the brouhaha, hype and circumstance which surrounds it's opening weekend. Far too few films fall in this category. One stands out in multicolored all singing all talking glory in 2001.

This film is a heartfelt valentine to freedom, truth, beauty, art, and love. It is a cultural blender full of styles, tastes, and vibrancy. It's antic, it's brassy. It's got beautiful people, heroes, and villians. It's technologically perfect, and utilizes state of the art special effects. It's the best looking movie of the past ten years, including "Titanic", which it surpasses. Although upon first viewing it seems like a trifle, looks can be deceiving, and this "trifle" is only on the surface. It has more beneath the surface. It has multifaceted layers and deep insight into the human condition. These layers show themselves more clearly upon repeated viewings.

It's a Hollywood Movie Musical, and in this year especially, after the tragic events which permeate the collective consciousness of humankind, I think it is fitting that a musical is the best picture of the year.

My choice for Best Picture of 2001, and mark my words, because I'm usually not wrong in these

"Moulin Rouge" (Fox) produced, directed, and along with Craig Pearce, co-written by Baz Luhrmann, one of today's most artistic directors. It is only his third picture, the end to his "Red Curtain" trilogy, and quite possibly the film that future history will pick to define the present decade.

"Reflecting upon the merits of the Best Films"

This article will discuss the reasons why I've already chosen this film, even though "Ali" by Michael Mann hasn't been released, and although "Lord of the Rings" by Peter Jackson was released last Wednesday, I haven't seen it yet. The "list of five" Best Picture nominees this year should be: "Moulin Rouge", "The Man Who Wasn't There", "Ali", "The Lord of the Rings", and "Memento". I put "LOTR" in there even though I haven't seen it yet, and even though I do think David Lynch's "Mulholland Drive" is deserving of a nod, and did receive the New York Film Critics award for Best Film. "Memento" came out early in the year, and I'm really not sure if it is a 2000 or 2001 effort, but I seem to remember seeing it on some year end top ten lists this year. so I added it. Before analyzing why "Moulin Rouge" is far and away the logical choice for the best film of 2001, I'd give a short description of the merits of each of the films I have chosen for my "list".
First, "Ali", even though it isn't yet released. I just have a high "need to see" quotient for this film, Michael Mann's latest, with the always wonderful Will Smith, who I really would like to see get Best Actor this year. Michael Mann is a stylist and yet imbues his films with rich characterizations. Sight unseen, I really think, judging by the trailers at least, that "Ali" will be the "big Hollywood picture" in the oscar race this year. I haven't seen "LOTR" yet either, but by all accounts, this is a rich tapestry of a film, which is true to it's source material, which was the most popular fantasy literature when I was in high school and college, and seems to be one of those works which couldn't really be given justice in the movie medium until now. Some people don't consider "popcorn movies" like "Star Wars" to be oscar contenders, but "Star Wars" was nominated in '77 (it lost to "Annie Hall") and it received awards for sound, editing, score, and production design, not to mention visual effects. "Lord of The Rings" has a built in mythology, is set in a multifaceted universe, has universal characters, and vast scope. It just could be a popular shoo in. Peter Jackson makes visually arresting fare ("Heavenly Creatures", "The Frighteners") and "LOTR" has always had a much higher must see quotient for me than "Harry Potter", which I don't think is Oscar worthy at all.
The Coen Brothers shared best directing nods with David Lynch at the Cannes Film Festival this year. Joel Coen directed "The Man Who Wasn't There". Lynch directed "Mulholland Drive". I wrote a review of "Mulholland" but never got around to reviewing "Man Who Wasn't There". Both were on my list of five, but "Mulholland" got bumped for "Memento" which I had on the list, and just added again after seeing it a second time on DVD.
"The Man Who Wasn't There" is perhaps the best Coen brothers film, maybe even better than "Fargo" which netted Frances McDormand her oscar in 1996. "Man Who Wasn't There" hasn't been widely released, and is sort of under the cultural radar, unlike, say, last year's Coen brothers movie, "Oh, Brother, Where Art Thou" which was much more 'popular' however I thought it was the shallowest movie in the Coen's ouvre. Billy Bob Thornton (best actor nod, possibly the statuette) carries the picture, although he rarely speaks except in voiceover, and delivers a performance thousands of miles distant from french fried taters. He achieves an almost zen like connection to character, in a film filled with memorable characterizations, and also some of the most beautiful black and white cinematography (by Roger Deakins) I've ever seen. But a black and white film hasn't won an oscar since 1950, and I believe this Coen jewell will ultimately become a classic in retrospect. "Memento" is an independent film, and doesn't have a chance, but it was by far the most intriguing bit of film craftsmanship I've seen in a while. The "twist beginning" will probably never be accomplished with as much imagination as in "Memento", in fact, no other film will ever use this device. For that reason, and the fact it's a year old, "Memento" will probably not be nominated, but it should.

"Watching the DVD of "Moulin Rouge" causes an epiphany."

Which brings us to "Moulin Rouge".
I bought the DVD on Friday afternoon, at Best Buy in Torrance. There were two copies left. It came out on Tuesday. The film made money, but wasn't a gigantic hit. It has respectable critical response, but too many people, I believe, were turned off by the "love it or hate it" attitude in the press. Not enough people saw it, and those who did, and failed to be captivated, didn't recognize the genius bubbling up under the loud, colorful exterior. With the release of the DVD, which seems to be popular, ranking No.1 for the week, the rerelease of the film in theaters, at the time of year when it probably should have been released in the first place, and the news that it has been nominated for six Golden Globes (tying "A Beautiful Mind" Ron Howard's newest, also with oscar buzz, but not on my list.) I spent all day Friday and Saturday with the DVD, and hence I was prompted to write this piece. After immersing myself in Baz's miracle again, including by far the most comprehensive making of extras ever compiled by a director for a film, I am convinced this is the best film of the year, possibly the decade, and I just needed to sing it's praises. This is a film for the ages, and will, in time, stand right beside "An American In Paris" and "Singin' In the Rain" as one of the alltime greatest movie musicals. I'm a big fan of musicals, by the way, and even that aspect of this film is better appreciated after viewing a second time.
The DVD didn't convince me of the film's merits. Seeing it upon release did that. I haven't read my original review for a while, but I did think it was oscar worthy then, but figured some other heavy hitters would get in there by end of year. I must admit, perhaps I would have championed the Coen film (my second choice) had it not been for one of my frequent epiphanies encountered while viewing "Moulin Rouge" on DVD. This is the PERFECT antidote to the grief suffered by humanity since Sept. 11. This is the JOYOUS JUBILATION of a SPECTACULAR SPECTACULAR awash in kinetic energy, but above all mindful of that same grief. If ever one could claim to "have his cake and eat it too", Baz Lurhmann certainly can. I believe "Moulin Rouge" is the perfect choice for inclusion in the list of greatest movies of all time.

"The American Musical Film"

Some thoughts about the musical in American Film.
I knew "Sound of Music" won the Best Picture oscar in 1965. But it has been a long time since the oscar went home with a musical producer, and the phrase "all talking all singing all dancing" is one of the catchphrases of popular movie culture. Musicals are basically a dead issue in Hollywood. They used to be the biggest moneymakers. They caressed and comforted the nation during the Depression, and they roused the patriotism of the American people during the Second World War. They gained their flowering in the fifties, and MGM was king of the studios when it came to producing them. In the sixties, which we usually remember for socially conscious films like "In The Heat of the Night", "Midnight Cowboy" and "Bonnie and Clyde", oscar was awarded four times to musicals. They were still popular, but the popularity was waning as the budgets to make them became bigger. The musical died a bloated overwrought death in the seventies, and was replaced in the cultural consciousness by music videos and music video movies in the eighties. Sporadic attempts have been made to revive the form, but have largely failed. In the case of Scorsese's "New York, New York" sometimes that failure has been spectacular. In 1968, Carol Reed's "Oliver" beat "Funny Girl" for the oscar. That was 32 years ago, forever in the up to the minute cultural timespan. I would like to think that the first year of the new Millennium has produced the savior for the musical in the form of Luhrmann's "Moulin Rouge". As soon as it receives Best Picture in March, it's popularity, and the popularity for the form will be revived. We need to sing and dance, and "Moulin Rouge" allows us, as no other film in recent memory, to indulge that passion. I haven't overlooked the fine work the Disney studios have done. Perhaps the only true musicals in the old fashioned sense of the word produced during the eighties and nineties were from the Disney Studio. Jeff Katzenburg's "Beauty and the Beast" and "The Lion King" besides being cartoons, were also true Hollywood musicals, and wonderful motion pictures. But they are cartoons. The live action musical disappeared. Luhrmann has brought the form back to live action, but by using computer graphics, models, and a kinetic frenzied storytelling technique, has fashioned a film that is so up to date in it's execution, using every special effects trick in the bag, that it at once recalls the old musicals with sincerity and love, and creates an entirely new way of looking at the form.
He and his team, have, in fact, revived the form for a new decade, and this deserves merit. When I first saw the film , at the beginning of summer, I didn't "need" a musical. After Sept. 11, I did, and part of the epiphany I had while viewing the DVD told me America needs a musical. They need this one, "Moulin Rouge" right now, and it has arrived on DVD, is being rereleased, and with any luck, will soon be discussed around water coolers everywhere as the must see flick of 2001.


Essay Continues Here on Page Two

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The Small Print
The "Moulin Rouge" website is a feature of the DVD section of ElectricMovies, part of the AllThingsMike webhub. "Moulin Rouge" is a 20th Century Fox film, and all the images used on the site, including those used in the composites are copyrighted by the Fox company and it's affiliated entities, and are used pending permission. Of course, judging by their disclaimers they will probably shut most of the images down which were copied from the official "Moulin Rouge" site. As I said, permission is pending, and I hope they think of this site as free advertising for them. They had the foresight to finance this work of art. The least they should do is let me show pirated DVD footage on the web. I pay for this website, and don't make a dime. Hopefully, "Moulin Rouge" will receive the Oscar (patented by the Academy of Motion Picture Arts and Sciences. ) Music on this page and video on the "Come What May" page is "Come What May" from the film. (Chapter 21 on the DVD) The essay is copyright 2001 Michael F. Nyiri. All Rights Reserved. Oh, and "Moulin Rouge is part of the AllThingsMike webhub, which includes all the sites below. | AllThingsMike | News Page | | Electric Poetry | Cultural Blender | Rosemead High Virtual Pantherama | MikeVideo | ComputerBS | Yes, But Is It Art? Gallery | | Lovesearch | Philosophy | Betty Boop | Komedy Komedy Komedy | Photographs | E-mail | Site Map | These pages are best viewed at 1024 x 768 on a 19" monitor. Fonts are Arial, Pickwick, Latin Wide, Village Square, Stagecoach, Unicorn, La Bamba LET, and Weathered SF. If you don't want to hear the music, or if it attempts to crash your system, you should be able to turn it off by using the little control bar below. Thanks for listening