Moulin Rouge! turns 25: how Baz Luhrmann reinvented the movie musical

This year marks the 25th anniversary of Moulin Rouge!, Baz Luhrmann’s reinvention of the movie musical. There is little doubt the movie musical was on the decline in the 1980s and 90s. The only real contender during that period was Disney (who released Beauty and the Beast in 1991 and The Lion King in 1994).

The musical was slowly being replaced by what contemporary critics called the “musically oriented film”, starting with 1977’s Saturday Night Fever, then Fame (1981), Flashdance (1983) and Footloose (1984). This trend extended to films whose soundtracks proved irresistible. Think Top Gun (1983), Quentin Tarantino’s bold soundtracks (Pulp Fiction in 1994 and Jackie Brown in 1997), alongside Nora Ephron’s nostalgic throwbacks in Sleepless in Seattle (1989) and You’ve Got Mail (1998).

These poppy soundtracks – full of songs you know but haven’t heard in a while – provided the perfect platform for Luhrmann to introduce a new kind of jukebox musical.

Not only did Moulin Rouge! pack an extraordinary number of songs into its duration – over 20, when a classic musical such as 1934’s Top Hat might contain as few as five tunes – it did so in a way that no musical had ever done before.

Traditional musicals tended to construct their song and dance sequences via long takes while also maintaining a good distance from performers. This was in order to preserve the integrity of the number. It was thought important to capture a dancer’s full body so as to appreciate the athleticism and wholeness of a performance. This was central for Fred Astaire (say in Swing Time, 1936), Gene Kelly (in Singin’ in the Rain, 1952) and even Marylin Monroe (in Gentlemen Prefer Blondes, 1953). The integrity of the performance was everything. Not so for Luhrmann, who introduced cut-up, super-edited song and dance numbers at breakneck speed.

The average shot length in Moulin Rouge! is under two seconds: a very fast pace for the time. While acceptable for an action movie, nothing like this had ever been done in a musical. It is likely that Luhrmann gained inspiration from pop music video culture — the “MTV aesthetic” — that had been de rigueur on TV screens for a good ten to 15 years. He had already borrowed from it in his previous films, Strictly Ballroom (1992) and William Shakespeare’s Romeo + Juliet (1996).

From one world to another

Moulin Rouge! nevertheless borrows one of the main traits of movie musicals. The story of Moulin Rouge! is the story of the attempts of its main characters to go from one world to another.

We find this in many classic musicals. It’s in Dorothy’s dream of leaving Kansas and journeying to Oz, and then in her desire to return home again in The Wizard of Oz (1939). It’s in Maria’s desire to leave the convent in The Sound of Music (1965). Or most emphatically in Tommy’s desire to leave Manhattan and live the rest of his days in a fantasy world in Brigadoon (1954).

In Moulin Rouge!, Christian (Ewan McGregor) wants to leave his current world behind and enter a world in which he is a great writer. Satine (Nicole Kidman), too, desires to leave the world in which she is a dancer at the Moulin Rouge and enter a new world in which she will be a “real” actress on stage in the legitimate theatre.

As happens so often in the musical genre, our characters try to get to a new world by way of song and dance. That is, by putting on a show – what is generally termed a “backstage musical”. When Christian sings Your Song, he is intimating that Satine has opened up a new world for him (“How wonderful life is now you’re in the world”). Satine herself is even more emphatic in singing One Day I’ll Fly Away – and that may be her best way of getting from one world to another.

Do our characters make it to their new worlds? Indeed, Christian does: he becomes a writer and the film we see is his version of the story. But this is not so for Satine – she dies. There certainly are musicals that do not have happy endings, such as West Side Story (1961), Funny Girl (1968) and All that Jazz (1979). But it was was an extraordinarily bold move to chart the demise of the film’s most glamorous performer and biggest star. In this way Luhrmann’s debt may be more akin to opera, such as Puccini’s La Boheme (1869) or Verdi’s La Traviata (1853).

In the end, Moulin Rouge! grounds its stylistic excess in a simple credo: “The greatest thing you’ll ever learn is just to love and be loved in return.” As Satine does not survive to enter the future she imagines, love crosses a different boundary – death itself. Christian’s private grief becomes public art, and the romance endures as story and song. Love does not avert tragedy, but it grants it form, and in doing so allows it to last.

Richard Rushton does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.