Baz Luhrmann without a doubt has a signature style. His works are unlike any other thus making him one of the greatest Auteur Directors of our time. In Auteur theory the film rather than just being that, a film, becomes instead a work of art, the film reflecting the directors personal creative vision, and their creative voice is distinct enough to still reflect within the medium even after the entire creative process is complete. The theory presented by Andre Bazin and Roger Leenhardt is that the director brings the film to life, expressing their thoughts, feelings and worldviews as an auteur within their chosen median. An auteur uses all the elements of film available to them; lighting, camerawork, symbolism, costume, staging and editing to create their vision and Luhrmann is no different. Luhrmann's Red Curtain Trilogy was the catalyst that propelled him into the spotlight and rightly so. The films that make up the trio; Strictly Ballroom (1992), Romeo + Juliet (1996) and Moulin Rouge (2001) took just under a decade in creation and share the unique qualities that make Luhrmann the unique director that he is. The films are highly theatrical and each follow a set of three particular rules. As put by Luhrmann himself "And, so, part of the rule of this red curtain trilogy - all three films have these same three rules - which is that you have a simple, identifiable story set in a heightened, creative world, and then you have a device to keep the audience awake to the story at all times - dance, iambic pentameter, breaking out in song." However there is a fourth rule that exists, which is that from the beginning the viewers know how the film is going to end. All of these elements are apparent in the final film of the trilogy 'Moulin Rouge'.
The first rule - the simple identifiable story, is very prominent within all three of the films. Luhrmann himself calls himself a mythomaniac and this is apparent across his films. Luhrmann explains "these primary strands, when they are condensed down into a mythological form, they are not a social or economic or a realistic explanation , but they do unite us on a fundamental level through time and geography, and they move themselves through time and geography." His choice to use mythology helps the audience to understand and to recognise what is occurring within the film. In Strictly Ballroom two myths combine rather than just the singular, the Ugly Duckling tale of self revelation with the story of David and Goliath about overcoming oppression. In Romeo and Juliet, it is pretty self explanatory as to which story that follows, however the myth of Pyramus and Thisbe exists deeper within the text. For Moulin Rouge the story follows the myth of Orpheus and Eurydice. With Christian representing Orpheus, and Satine symbolising Eurydice. The journey for both into the underworld in the hopes to save the woman that they love. From the offset the resemblances between Orpheus and Christian are obvious, firstly; they are both young men with a talent, Orpheus in music and Christian in poetry, secondly; they are both from wealth but gave it up, thirdly; they are both well travelled, Orpheus with the Argonauts, and Christian having moved from England to Paris. A moment in which Christian link to Orpheus is made very obvious is during the first meeting with the Bohemians. In the midst of their argument Christian breaks out with 'The hills are alive with the sound of music' using his talent and stunning the bohemians into silence. This is a modernised replica of Orpheus and his time aboard the Argo, “if a quarrel threatened he would play so tenderly and soothingly that the fiercest spirits would grow calm and forget their anger” (Hamilton 139). The similarities are undeniable. As Orpheus ventured into the Underworld, so does Christian into Moulin Rouge, which is 'ironically' enough referred to by Zidler as 'The Underworld', and like Orpheus, Christian manages to leave the Underworld however like Eurydice, Satine doesn't make it out. The men learn about life and love through the deaths of their beloved, maturing from youths to adults. While there are a multitudes of similarities between the myth and the film, there are also quite a few differences. This is because while Luhrmann of course use the myth to create the film, he has also transformed it into a work of his own, as an auteur putting his own flair here and there. Fundamentally though the two stories are the same. Luhrmann's decision to use the myth makes the story easy to recognise and the audience better understands it which ties into another part of Luhrmann's style. From the beginning the viewer knows how the story is going to end. The story has to be simple underneath it all and so the audience knows what they are expecting from the beginning.
The second part of Luhrmann's distinctive style is how he creates his heightened realities specifically through costume and eccentric acting. The world of the Moulin Rouge is vibrant and exciting, combining reality and imagination, which leaves the viewer wondering - what is real?
The first rule - the simple identifiable story, is very prominent within all three of the films. Luhrmann himself calls himself a mythomaniac and this is apparent across his films. Luhrmann explains "these primary strands, when they are condensed down into a mythological form, they are not a social or economic or a realistic explanation , but they do unite us on a fundamental level through time and geography, and they move themselves through time and geography." His choice to use mythology helps the audience to understand and to recognise what is occurring within the film. In Strictly Ballroom two myths combine rather than just the singular, the Ugly Duckling tale of self revelation with the story of David and Goliath about overcoming oppression. In Romeo and Juliet, it is pretty self explanatory as to which story that follows, however the myth of Pyramus and Thisbe exists deeper within the text. For Moulin Rouge the story follows the myth of Orpheus and Eurydice. With Christian representing Orpheus, and Satine symbolising Eurydice. The journey for both into the underworld in the hopes to save the woman that they love. From the offset the resemblances between Orpheus and Christian are obvious, firstly; they are both young men with a talent, Orpheus in music and Christian in poetry, secondly; they are both from wealth but gave it up, thirdly; they are both well travelled, Orpheus with the Argonauts, and Christian having moved from England to Paris. A moment in which Christian link to Orpheus is made very obvious is during the first meeting with the Bohemians. In the midst of their argument Christian breaks out with 'The hills are alive with the sound of music' using his talent and stunning the bohemians into silence. This is a modernised replica of Orpheus and his time aboard the Argo, “if a quarrel threatened he would play so tenderly and soothingly that the fiercest spirits would grow calm and forget their anger” (Hamilton 139). The similarities are undeniable. As Orpheus ventured into the Underworld, so does Christian into Moulin Rouge, which is 'ironically' enough referred to by Zidler as 'The Underworld', and like Orpheus, Christian manages to leave the Underworld however like Eurydice, Satine doesn't make it out. The men learn about life and love through the deaths of their beloved, maturing from youths to adults. While there are a multitudes of similarities between the myth and the film, there are also quite a few differences. This is because while Luhrmann of course use the myth to create the film, he has also transformed it into a work of his own, as an auteur putting his own flair here and there. Fundamentally though the two stories are the same. Luhrmann's decision to use the myth makes the story easy to recognise and the audience better understands it which ties into another part of Luhrmann's style. From the beginning the viewer knows how the story is going to end. The story has to be simple underneath it all and so the audience knows what they are expecting from the beginning.
The second part of Luhrmann's distinctive style is how he creates his heightened realities specifically through costume and eccentric acting. The world of the Moulin Rouge is vibrant and exciting, combining reality and imagination, which leaves the viewer wondering - what is real?
Luhrmann was exposed to the world of performance from a young age. With his mother a ballroom dancer (which helped to influence his first film 'Strictly Ballroom'), Luhrmann's understanding of the world only grew. With a tendency for theatricality, he himself states that he is heavily influenced by Italian Grand Opera and Bollywood film which is especially apparent in Moulin Rouge. Bollywood features extensively throughout the text adding to the 'heightened, creative world' Luhrmann strives to create. The oddity of a Bollywood production of 'Spectacular, Spectacular' in Paris at the turn of the 20th century is quite peculiar in itself, but a few Bollywood features exist outside the 'play' within the film; for example large studio sets, elaborate costume, the use of other performance art e.g. singing, dancing, instruments and romance being the main subject of the plot. "The film makes full use of its highly theatrical setting to evoke and celebrate a world of richly and elaborately dressed caricatures. When the eponymous red curtain opens, it reveals a world that is in equal parts circus, pantomime, drag show, carnival, theatrical chaos and bordello." (Lynda Chapple) . The film won the Oscar for Best Costume Design and with good reason. Not only are the costumes magnificent within themselves but they also help to serve a purpose, that is vital in Luhrmann's filmic world of a heightened reality. This aspect is exaggerated within the film through costume. From the beginning the use of colour is used to create distinction between characters and to also overwhelm the viewer. The 'can-can' sequence with the vibrant skirts is made all the more intense by the camera cutting quickly between shots, colour upon colour, close-up and birds eye views, thrown together is such a fast paced way that the person watching can feel their heart beating in time with the pace of the film. The world can only be described as dress up, 'a debauched theatrical masquerade party heightened by the fantasy of the past; it positively revels in the burlesque carnival of its own fancy'. The costume in Moulin Rouge combines 1930's musical glamour with 1890's Parisian bohemia and a touch of pop culture here and there as is the Luhrmann style. However despite its artificiality and manufactured feel, the film becomes all the more believable because of it. Satine's look adds to the sense of heightened reality. She isn't accurate historically with her opening costume of a black and silver sequin bodysuit paired with fishnets, black silk gloves and a top hat and then a spectacular flesh-coloured bodice replete with gold fringing and an extravagant marabou feather train. Her look was designed for beauty, to come across as untouchable and sexually unavailable, accuracy was not exactly a priority in Luhrmann's design. Rather than what it should be, Satine follows the look of a classic screen goddess, with her tumbling auburn locks, translucent white skin and red lips she in a way replicates such actresses like Rita Hayworth and Marilyn Monroe, both in look and in attitude. Another look is the red satin bustle dress, with a laced corset, an elaborate Indian-inspired headdress, intricate beading, strapless and to the floor. Inspired by Luhrmann's travels through India, the Indian style costume mixed with 1900's Paris adds to the heightened reality.
The acting across Luhrmann's films, not just Moulin Rouge exclusively, is very over the top. This is seen in Jim Broadbent's portrayal of Harold Zidler especially. His character is larger from the offset but it can be seen especially in the 'Like A Virgin' sequence. The camera close-ups of his face, his eyes wild and almost foaming at the mouth, create an illusion of madness. However this is just his normal state. "We never heard from Baz to turn it down," one of the actors reported. "It was always, 'More! More!' " The director even sent a note to his cast reading, "I dare you to make me say you've gone too far." And this is evident within all his characters. They are outrageous. From the midget, to the narcoleptic Argentinean, and finally to the Duke. All of Moulin's characters seemingly try to outdo the other and where you would perhaps think would lead to the films down hall it does everything but that. The eccentricities of each character add to the second part of Luhrmann three rules.
Visual effects in the film are used to further enhance the reality of the Moulin Rouge. Luhrmanns explanation "We live in a world where audiences are not only aware but profoundly bored of the perfection of digital magic. Cameras move perfectly at impossible angles, reality has a beyond-real sharpness. CM and I gave Chris and the team at Animal Logic (visual effects house) a commission that we wanted to use digital power not to create perfection but imperfection, to reproduce camera shake, deconstruct imagery and create a sense that this film was hand made". The decision to use the numerous visual effects (three hundred plus) serve to - in the words of the VE superviser - "underline the story by extending Luhrmann's created world, rather than create a world of their own." The setting of Moulin Rouge, Paris, was mainly a digital creation and because of this the film is able to break barriers that most wouldn't. Based off photoshop collages of the Paris at the turn of the century, the digital version was then created, "We've designed the effects so you travel over a two-dimensional Paris, which then becomes a 3-D model of the city, which is then joined to the one-fifth full scale main hall. Thus with a sweeping single shot we can travel from bourgeois Paris through streets of toothless rabble and up into Christian's garret." This digital creation means that although Paris is recognised by the viewer it is also not actually Paris, it is in a way a dream world.
A fundamental part of the film that really pushed Luhrmanns unique style was the use of editing. It helps the audience to understand, it increases the intensity and it helps to maintain interest throughout the film. "Moulin Rouge takes you on a ride," film editor Jill Bilcock explains. "A roller coaster ride from beginning to end with areas of light, shade and speed changes when you least expect them. Baz and I have made 'fast, fast, fast' our mantra, but as soon as the story gets to Christian and Satine - the love story, the tragedy - we slow down." A scene where editing and it's importance is evident is the 'Roxanne' sequence. In this moment, Satine is trying to convnce the Duke that she is his, and Christian is unable to handle it. The Argentinean dances with one of the Moulin Rouge girls, telling the story of a couple he knew back where he was from, a story which corresponds to Christian and Satine relationship. During the heated tango the scene cuts between that and Satine and the duke. As the music reached it's climax, it would switch to where Satine and the Duke were fighting because Satine did not love him, all the while returning to the the Moulin Rouge. Another time in the film in which editing heightens the reality is the .'can-can' sequence. The cutting between the can-can dancers in their colourful, extravagant dressing creates a distinctive comparison between them and the men in their black and white suits. Combined with the shots of Christian, the Duke, Zidler and Satine, the viewer is pulled into this fast-paced and colourful world, with the story being told quickly through the editing. The place almost seems out of this world, the viewer having everything thrown at them almost at once, the place begins to feel as though it's being fast forward, which makes it seem less real and more dream like.
The acting across Luhrmann's films, not just Moulin Rouge exclusively, is very over the top. This is seen in Jim Broadbent's portrayal of Harold Zidler especially. His character is larger from the offset but it can be seen especially in the 'Like A Virgin' sequence. The camera close-ups of his face, his eyes wild and almost foaming at the mouth, create an illusion of madness. However this is just his normal state. "We never heard from Baz to turn it down," one of the actors reported. "It was always, 'More! More!' " The director even sent a note to his cast reading, "I dare you to make me say you've gone too far." And this is evident within all his characters. They are outrageous. From the midget, to the narcoleptic Argentinean, and finally to the Duke. All of Moulin's characters seemingly try to outdo the other and where you would perhaps think would lead to the films down hall it does everything but that. The eccentricities of each character add to the second part of Luhrmann three rules.
Visual effects in the film are used to further enhance the reality of the Moulin Rouge. Luhrmanns explanation "We live in a world where audiences are not only aware but profoundly bored of the perfection of digital magic. Cameras move perfectly at impossible angles, reality has a beyond-real sharpness. CM and I gave Chris and the team at Animal Logic (visual effects house) a commission that we wanted to use digital power not to create perfection but imperfection, to reproduce camera shake, deconstruct imagery and create a sense that this film was hand made". The decision to use the numerous visual effects (three hundred plus) serve to - in the words of the VE superviser - "underline the story by extending Luhrmann's created world, rather than create a world of their own." The setting of Moulin Rouge, Paris, was mainly a digital creation and because of this the film is able to break barriers that most wouldn't. Based off photoshop collages of the Paris at the turn of the century, the digital version was then created, "We've designed the effects so you travel over a two-dimensional Paris, which then becomes a 3-D model of the city, which is then joined to the one-fifth full scale main hall. Thus with a sweeping single shot we can travel from bourgeois Paris through streets of toothless rabble and up into Christian's garret." This digital creation means that although Paris is recognised by the viewer it is also not actually Paris, it is in a way a dream world.
A fundamental part of the film that really pushed Luhrmanns unique style was the use of editing. It helps the audience to understand, it increases the intensity and it helps to maintain interest throughout the film. "Moulin Rouge takes you on a ride," film editor Jill Bilcock explains. "A roller coaster ride from beginning to end with areas of light, shade and speed changes when you least expect them. Baz and I have made 'fast, fast, fast' our mantra, but as soon as the story gets to Christian and Satine - the love story, the tragedy - we slow down." A scene where editing and it's importance is evident is the 'Roxanne' sequence. In this moment, Satine is trying to convnce the Duke that she is his, and Christian is unable to handle it. The Argentinean dances with one of the Moulin Rouge girls, telling the story of a couple he knew back where he was from, a story which corresponds to Christian and Satine relationship. During the heated tango the scene cuts between that and Satine and the duke. As the music reached it's climax, it would switch to where Satine and the Duke were fighting because Satine did not love him, all the while returning to the the Moulin Rouge. Another time in the film in which editing heightens the reality is the .'can-can' sequence. The cutting between the can-can dancers in their colourful, extravagant dressing creates a distinctive comparison between them and the men in their black and white suits. Combined with the shots of Christian, the Duke, Zidler and Satine, the viewer is pulled into this fast-paced and colourful world, with the story being told quickly through the editing. The place almost seems out of this world, the viewer having everything thrown at them almost at once, the place begins to feel as though it's being fast forward, which makes it seem less real and more dream like.
The third rule of Luhrmann's trilogy is the "device to keep the audience awake to the story at all times - dance, iambic pentameter, breaking out in song." In the case of Moulin Rouge the device is breaking out in song. However Luhrmann worked to avoid traditional musical cliches within his film, so rather than having the cast actually stop to sing a song, the songs are integrated into the storytelling, there is no distinction between what is the norm and what isn't, the singing simply becomes another storytelling device. This element is integral in multiple parts of the story, 'Like A Virgin' and 'Roxanne' are two examples of this however the 'Elephant Love Medley' is the greatest, the blend into singing occurs so naturally that the viewer hardly realises it is happening. The ELM is basically an argument between Satine and Christian, in which he convinces her that she deserves to be loved. An element however that further defines Luhrmann's style is the fact that all the songs he uses are contemporary songs, or already written, bar one. The Elephant Love Medley is a combination of 12 contemporary as such songs from KISS to Whitney Houston, the rest of the film uses other songs from the 20 to 21st century also. This isn't just Moulin Rouge though, this is found across all of Luhrmann's films, his most recent film 'The Great Gatsby' also shows this distinctive feature of his work.
The fourth rule is a sort of mini rule that's a part of Luhrmann's style as an auteur. In all three of his films in the Red Curtain, the viewer knows what is going to happen right from the get go. In Moulin Rouge, the film tells how the story is going to end. This ties into the first rule also. We know the myth, we know the story, however it is clarified in the opening sequence. Christian explains how he lost Satine, and we know from the offset that she is going to die. Yet this doesn't put the viewer of the story. We are in fact more drawn to it because of the knowledge. Luhrmann's style here, different from other movies is what makes the viewer keep watching.
As an Auteur, Luhrmann' style is without a doubt distinctive. When you know the rules it is very easy to spot his works. Luhrmann's style is reflected across his film and his personal views on the world become apparent. His Red Curtain Trilogy and his over the top expressionism run rampant to create a cinematic experience that the viewer never forgets.
In my opinion for Luhrmann it is not his style that defines his films. He doesn't choose his stories based on how they would look with his distinctive style, nor does his style change with his stories, the two aspects complement one another, so that Luhrmann creates a film that leaves the audience spellbound. It is evident within all of his works. Basically he adds parts of his style to the story and part of the story to the style. For him both aspects are just as important as the other. As an Auteur Luhrmann is original, his creative vision is shown through his work, it defines his work and makes it what it is. But it's the combination of what he has and what he is that makes his films as memorable as they are.
The fourth rule is a sort of mini rule that's a part of Luhrmann's style as an auteur. In all three of his films in the Red Curtain, the viewer knows what is going to happen right from the get go. In Moulin Rouge, the film tells how the story is going to end. This ties into the first rule also. We know the myth, we know the story, however it is clarified in the opening sequence. Christian explains how he lost Satine, and we know from the offset that she is going to die. Yet this doesn't put the viewer of the story. We are in fact more drawn to it because of the knowledge. Luhrmann's style here, different from other movies is what makes the viewer keep watching.
As an Auteur, Luhrmann' style is without a doubt distinctive. When you know the rules it is very easy to spot his works. Luhrmann's style is reflected across his film and his personal views on the world become apparent. His Red Curtain Trilogy and his over the top expressionism run rampant to create a cinematic experience that the viewer never forgets.
In my opinion for Luhrmann it is not his style that defines his films. He doesn't choose his stories based on how they would look with his distinctive style, nor does his style change with his stories, the two aspects complement one another, so that Luhrmann creates a film that leaves the audience spellbound. It is evident within all of his works. Basically he adds parts of his style to the story and part of the story to the style. For him both aspects are just as important as the other. As an Auteur Luhrmann is original, his creative vision is shown through his work, it defines his work and makes it what it is. But it's the combination of what he has and what he is that makes his films as memorable as they are.