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 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 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.