Hit Me With Your Best Shot: "MOULIN ROUGE!"

In the Hit Me With Your Best Shot series we look at pre-selected movies and name what we think of as the best (or at least our favorite) shot. Anyone can play along and we link up. Next wednesday's topic is Fritz Lang's noir "The Woman in the Window".

But tonight, we celebrate Baz Luhrmann's "Spectacular! Spectacular!" which went wide on US screens ten years ago on this very day.

MOULIN ROUGE!

SHE'S CONFESSSSSSSIIIIINNNNGGGG!
She suddenly had a terrible desire to go to a priest."

We begin with a confession.

Though I was an early veritably possessed cheerleader for Moulin Rouge! since I beheld its genius on opening night at the Ziegfeld theater in NYC, though I saw it five times in the movie theater (a post '80s personal record), and though I named it Best of the Aughts when the decade wrapped, I hadn't actually sat down and watched Moulin Rouge! in full for at least five years. This wasn't intentional. I wrote about the movie so often from 2001 to 2005 that at some point I just put it on the shelf, afraid of breaking its spell. I worried, sitting down in the dark, the remote far from me as if I were back in the temple of the movie theater, 'would it still thrill?'

A silly question it was. From the first frames I was swept up. By the time Zidler and his diamond dogs came rushing at the camera (best shot!?!), a chaotic swishing mess of vibrant color, sexual promise and mashed-up music, I forgot to take any notes at all. By the time Satine, the sparkling diamond, descended from the ceiling onto the dance floor, I had completely blanked on the the "best shot" assignment. So, returning to skim again today, a decision: I would only choose a shot from the film's second half, which I haven't written as much about.

Moulin Rouge! famously borrows, sometimes with song and other times visually, from dozens of famous musicals but it's comic/tragic masks are not unlike the work of the great Stephen Sondheim. In many of Sondheim's most famous musicals, he starts out light and comic and you leave the theater at intermission for fresh air that you don't even need since you're already walking on it. Within seconds of returning to your seat, he's out to crush your heart. Into the Woods provides a famous and literal example: the first act, which is a play on famous fairy tales, ends with the "ever after" part. When you return for the second act you're left to wonder what comes next and that "happily ever after" part sure turns out to be a false bill of goods.

And so it goes with Christian and Satine's romance, which comes on, like the whole of Moulin Rouge!, in a heady hallucinatory rush of color, comedy and eroticism and then dives straight into tragedy after the (literal) romantic fireworks. Consider the juxtaposition of the shots above, one when Christian sings "I-I-I-I-I-I will always love you" (best shot!?!) and Satine is fully on board" and the much later shot of Satine, realizing she has to give Satine up singing "today's the day when dreaming ends" (best shot?!?) which she sings with her eyes glassy, not really looking at the caged bird sharing the frame, who we already know she feels a kinship towards (Someday I'll Fly Away). Both shots are audaciously clichéd, but that's how Moulin Rouge! plays it, boldly throwing ALL tropes at you and daring you to not reembrace them in a fresh dizzying form.

Zidler himself precipitates this vacant "you're dying"/ 'I'm already dead' staring and the longer I live with the movie the richer the Zidler/Satine relationship becomes. So for the moment, and there are roughly 100,000 shots worthy of the name "best" in the film, this is the one that absolutely kills. A slow cold zoom out on Zidler performing Zidler as The Maharaja (aka also the Duke) claiming Satine all over again. It drains the last life from our heroine. Art is imitating life and then life will imitate the art again.

She is mine. She is mine."

The cinematography by Donald McAlpine which so deserved the Oscars that year (sorry LotR), loves to shoot Nicole Kidman with blue light whenever she is bereft of love. Even in the "Elephant Love Medley" when she's first resisting Ewan McGregor she's lit in blue while he is glowing with warmer light right behind him. By the end of "Spectacular! Spectacular!", beginning with the exact moment when she coughs on stage, all the hot pink light which had been battling it out with the blue, vanishes to leave her like this.

She is mine. She is mine."

She always was... Zidler's that is. Christian was never able to steal her away, only playing with her in her gilded cage for that Summer of Love, 1899.

Madonna's classic "Like a Virgin" number is only used comically in the film, to mock the prostitute/john Satine/Duke relationship. But it could just as well have been used dramatically, with Satine in Christian's arms; thawed out, shiny and new. This beloved movie, ten years familiar, can still touch you for the very first time. It hasn't lost a drop of heart or magic in a decade's time. 

 

18 Children of the Revolution
Visit these fine blogs for more on this "Spectacular! Spectacular!"

• Victim of the Time "vibrant infatuations"
• Film Misery Christian, trapped
• Amiresque the blue eyes of Moulin Rouge!
• Cheap Seat Reviews thank you for curing him of his ridiculous obsession with love!
• Intafada afternoon delights
• Movies Kick Ass the camera loves her
• Film Actually "You're daying, Satine"
• Being Norma Jeane Midnight in Paris?
• Stale Popcorn "brash. cold. bright"  You can can can.
• Mosaical Musings "Roxanne... you don't have to put on the red light."
• Ahora Satine and her beauty.
• Derrek's Tumblr "romance on a grandiose scale"
• Moved by a Screen Dream Christian in agony
• Antagony & Ecstasy when in doubt, go puerile.
• Serious Film love/hate relationship: best and worst shot.
• Awww, The Movies couldn't possibly choose one.
• missemmamm "smoldering temptress?"
• Sketchy Details a sunny moment via "Come What May"
• Sorta That Guy a love that will live forever!

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Mix Tape: "Perfect Day" in Trainspotting

Andreas from Pussy Goes Grrr here, with the scene that served as my introduction to Lou Reed.

At his best, Danny Boyle knows how to mix memorable visuals, dynamic editing, and pop music into one striking, powerful package. The overdose scene in Trainspotting, his saga of Edinburgh heroin addicts, has all this and more set to the morose tune of Reed's "Perfect Day" (an ironic song title if there ever was one). Anti-hero Mark Renton, eager for "one fucking hit," returns to the desolate apartment of a sleazy dealer, where he shoots up... only to fall into a catatonic stupor, which Boyle represents by having him sink into a hole in the carpet, as if into a grave.

This is when Reed's flatly casual voice breaks in, singing the lyrics ("Just a perfect day, drink sangria in the park...") in a subdued tone that belies their supposed cheerfulness. As the dealer deposits Renton's immobile body on the street to wait for a taxi, Reed bursts into the chorus, and already the irony is palpable: clearly, Renton is having anything but a perfect day. But the irony goes far beyond that simple "happy song, sad scene" incongruity—because the song is self-contradictory to begin with, and the scene isn't merely sad.

Boyle's depiction of the overdose traffics in the same dark, sometimes satirical humor as the rest of Trainspotting, and it's shot in the same kinetic, self-conscious style. For example, the burgundy carpet, which blinkers Renton's POV shots while he's unconscious, functions as both a metaphor for his isolation in the depths of his overdose, and as a bleak visual joke. Similarly, the grim way he's passed along from dealer to cabbie to hospital orderlies borders on kafkaesque. This is no self-serious afterschool special; Boyle has an eye for the funny side of excessive drug use.

This clash between tragic subject matter and flashy style could come across as ridiculous or tasteless, but any such tonal ruffles are smoothed out by the faultless use of "Perfect Day." Despite occasional dips into ironic enthusiasm on one end and melancholy on the other, Reed's voice is stable throughout the song, almost to the point of monotone; this makes it the ideal song to accompany Renton's comatose journey to the emergency room. Even in its loudest, most climactic moments, "Perfect Day" is still as steady and patient as an elevator ride, and balances out the bounciness of Boyle's camera.

And throughout the scene, it offers a bittersweet lyrical counterpoint to Renton's current predicament, with the line "You just keep me hanging on..." ringing out just as the dealer shoves Renton into the back of the taxi, and the closing refrain, "You're going to reap just what you sow," as a dire reminder that he brought this miserable situation upon himself. It's also starkly appropriate that a song partially about self-delusion and ignoring one's problems should arrive in the center of a film about drug addicts.

According to rumor, "Perfect Day" is actually about heroin, and that may be case, but its usage here isn't just a matter of finding a song whose topic matches the film. (Had that been the case, Lou Reed wrote a song called "Heroin" that could've been used instead.) The scene derives much of its sticking power from the very precise interplay between the song's unique tone, the editing, and the camerawork, which together sustain a forlorn mood laced with many ironies. This seamless integration of visuals and music brings a light touch to the protagonist's near-death and rebirth, and forever entangles "Perfect Day" with the image of Ewan McGregor dying in a carpet.

The Lord of the Links: Two Jacksons

Cracked uses that late minute reworking of the Red Dawn remake as a jump off point for a very funny article on "6 Groups Who Don't Work as Movie Bad Guys Anymore". I'm not proud but I even ended up LOL'ing at a poop joke.
Boy Culture Jesus. I was on to something posting that "stars as other stars" post just a few days back. Now Madonna went and did Charlie Chaplin for Purim. Cute.
Little White Lies has a nice piece on double readings of Blade Runner depending on whether you view Deckard as a Replicant or regular human man.
My New Plaid Pants Tom Hardy on the other hand is no machine but man. He's got the peen to prove it in a new digital short [NSFW].
Ester Goldberg is that Barbra Streisand Gypsy movie really dead? Some people aren't letting the ghost go.
Cinema Blend has an alarmist headline "No More Nudity For Ewan McGregor". I'm not sure that the quotes support the headline but made me look. You win.

And finally Awards Daily shares the first photos from the set of Peter Jackson's The Hobbit. I know it is probably my duty as a huge fan of the Lord of the Rings trilogy as well as a denizen of planet Earth to be excited about this movie... er movie²... but I think it's a terrible idea.

The Lord of the Rings trilogy was so Aughts-defining in a way and why not go out on a high note like, I dunno, sweeping at the Oscars? Just a thought, Peter. I can't see how this won't feel like either

a) a rerun retread reboot
b) nostalgia exercize / faded glory
c) The Lord of the Rings Episode IV: The Phantom Menace.

Oh shush. I feel that "C" is a fair barb given the tonal "I completely forgot how to direct" chaotic atrocity that was The Lovely Bones. But I'll allow that maybe this is just cynical fretting. As a huge fan of LotR and Heavenly Creatures even moreso and even as an admirer of that Meet the Feebles gusto, I'll always hope that Jackson can work new magics.

Reader of the Day: Cory

Today's Reader of the Day is the first in the series that I've actually met. We sat down for coffee last year while Cory from Canada was in town having a meeting about something so secret I couldn't even begin to tell you what it was. Perhaps he works for the CIA? But he was chatty about movies and that's what we love best!

Nathaniel: Hey Cory. Good to "see" you again. Do you remember the first movie or first movie obsession?
CORY: I feel like I’m on ‘Inside The Actor’s Studio’ right now.  This is awesome! The Great Mouse Detective.  I think I was about 3 years old, and it was for sure my first movie theatre experience.  We got ¾ of the way through it when my little sister regurgitated a bag full of Nibs all over my father.  So I guess I just remember the first movie that I got ¾ through.

My first movie obsession, which birthed the entire concept of out-of-control obsessions for me, was The Shaggy Dog.  It was in no way a healthy one.  I think I watched it every single day for about 6 years.  In second grade I actually managed to convince myself that the recess bell was my own personal trigger to transform into a sheep dog.  I spent every single recess for a full year absolutely convinced that I was indeed a dog.  Needless to say I had a very lonely year.

When did you start reading The Film Experience?
I can separate my teen to adult years by what my favourite film website was in each section of my life.  Mrshowbiz.com was most of my teens.  I was devastated when that stopped existing. Thankfully I managed to find Sasha Stone after that which led me to you. TFE is easily my most visited site on the interweb and I hope I never have to go hunting for a new favourite again. 

What's your filmgoing diet like these days?
These days, i.e. the last few weeks, my film diet is an anorexic one.  Not one movie has been watched and it feels great.  I LOVE not watching movies.  It’s the best!  Every February, like yourself I imagine, I end up waking up and watching movies until it’s time to go back to sleep.  On repeat.  For 28 days.  By the end I hate the entire concept of filmmaking and wish that I was sane enough to JUST MAKE MYSELF STOP!!!  I’m not.  It will happen again next year.  But I guess I should probably rewatch Mildred Pierce (1947) pretty soon.  

Three favorite actresses. Go!
The most difficult question on Earth.  Ok.  Just do it Cory.  First to enter your mind: Liv Tyler, Grace Kelly, and Michelle Williams.  Damn!  Is that even close to right???  I think so.  But what about Rachel Weisz...  I ask myself?  And Penélope Cruz...  reads my next thought bubble?   You can’t leave out Diane Keaton...   says a very logical part of my brain.  Yes!  I fit in six.  Get me away from this awful question.

 

Biopic of your life. Who plays you? Etcetera.
I’d have to cast by era here and my movie might as well be called, ‘Eras’.  (No that’s dumb.)  My teen years need to be portrayed by Ewan McGregor...  and it will be easy for him to do so as he can just play Christian from ‘Moulin Rouge!’.  I was an overboard romantic, a naive and passionate romantic.  I still am.  I’ve just learned to internalize it.  I even wrapped myself in a box for a girl once and got someone to drop me off in front of her locker.  I hid in it for 40 minutes with chocolates and flowers.  There was a crowd surrounding her when she opened it and I popped out.  She dumped me three days later.  Lesson learned.  Movies don’t necessarily reflect real life.  I believe this was considered to be ‘creepy’. 

My early 20s could be played by Ethan Hawke.  The way he conveyed his curiosity and excitement about life in, ‘Before Sunrise’ has always moved me and felt very much like a reflection of my precise existence.  I felt the very same way about his performance in ‘Great Expectations’.  Passionate.  Sensitive.  Passionate.  Passionate.  Passionate.  I adore his aura.  The last 5 years of my life...  maybe John Krasinski??  I don’t know.  He’d have to up the intense factor.  But he performs very matter-of-factly and gives off a very logical aura.  I speak a lot about auras.  Maybe the film should be called ‘Auras’.  Anyhow...  Krasinski seems to be able to convey ‘keeping it cool’ while in very intense situations.  I think that’s what I’ve mostly been doing for the last five crazy years.  Finally, I feel like I am slipping into a Hanksian era of my life.  I’ve always felt an attachment to Tom Hanks.  Passionate and funny.  I think that’s what I am right now.  I’ve turned into Tom Hanks. I’ll take it!

Jagged Linky Pill

Grrrrrr. I'm totally not speaking to Critical Condition and Low Resolution right now because they did not include me in their awesome trip back through every track of Alanis Morrissette's "Jagged Little Pill" for its 15th anniversary. I'm going to write a list song about all the reasons I'm mad at Mark and Joe and then I'm going to screech it out unintelligibly over massive pop hooks and sell 14 million copies. I won't share a damn cent with them. They oughta know.

Under Link Swept
DListed Ewan McGregor being incredibly adorable with a puppy
For The Record is another theater event for movie fans in Los Angeles. It's a concert evening celebrating the music of Baz Luhrmann's films with a rotating cast from stage, tv, and screen. Sounds great. Between this and Streep Tease I so need a plane ticket right about now.
My new Plaid Pants loves Takashi Miike's 13 Assassins. I kinda wanna see it but I'm nervous about the intense violence. Audition was a little much for my girlish constitution... I nearly passed out.

Basket of Kisses checks in with the Mad Men cast during this agonizing wait for ANY news of a Season 5.
Vulture Billy Crystal will maybe possibly he'll think about it host the Oscars again if they have less statues handed out. F*** you Billy. I like seeing Costume Designer and Art Directors and all the rest win. Seriously, F*** you.
Socialite's Life Sandra Bullock is looking kind of deglam on the set of Extremely Loud and Incredibly Close.
Kenneth in the (212) starts a funny rumor about Bradley Cooper.
Cinema Blend has some drawings of Mother Gothel before she morphed into the Mother Gothel we know from Tangled which comes to DVD/Blu-Ray real soon.

That's a wee sample. We trust you'll remember that we're happy with the Gothel we got.

Blogs of Entanglement
The Guardian does some frightening though highly plausible thinking about end game of the new world order of film journalism (i.e. fannish blogging).
Pajiba, in light of last week's Tech Crunch vs. Cinematical scandal, pats itself on the back for not playing the PR game. See I'm not the only one navel gazing this week about how I blog! Must be something in the air.

For the record I've never been told by anyone to tone it down -- though I do get the rare nasty e-mail from people in the biz about certain comments I have made about certain actors and actresses -- but I kind of wish the studios were giving me money so that I could theoretically be asked to tone it down. I'd welcome an ethical challenge for money. ;)

 Supposed Former Celebrity Junkie
PopEater has a really interesting piece from Jo Piazza's CELEBENOMICS on Charlie Sheen and Lindsay Lohan's mutual disintegration and why Charlie Sheen seems to be benefitting from his downfall financially whilst Lohan's fortunes and fandom continue to dwindle.

She theorizes that it's about branding and embracing of your flaws, or... "Make your mess your message." Good read but I still think the way these things usually play out this way is basic cultural sexism. Think for a minute how many anti-heroes the culture embraces to the point of total amoral adulation (Hi the entire gangster movie genre!) and then try to think of how many criminal women are similarly adored / emulated. Another thing that's totally not discussed is their respective talent. Lohan's self-immolation is SO much more depressing because to get where she's, uh, not, now, she had to cast aside real movie star presence (super hard to come by else every working actor would have it) and acting chops. Why shouldn't Sheen embrace his mess as a message? What else has he got? It's not like he was ever that magnetic on the big screen or particular genius at small screen comedy despite earning gazillions from those laugh tracks on Two and Half Men.

You Oughta See
My god. I keep forgetting to share this. You've probably seen it by now...

A Brief History of Title Design from Ian Albinson on Vimeo.

I think the best thing about it is how it trusts the audience to infer some of the titles, since the openings are so iconic. Like that flash insert of Rosie Perez shakin' her thang for Do The Right Thing or all those snippets of credits that are just names rather than the title itself. It's a beauty, huh? If I could ever figure out how to rip DVDs in a simple way (last time I asked it seemed to involve about 5 different programs for one task) without spending a fortune I would make such great edits. I know it must be much simpler than I understand since everyone and their dog does it, some with natural talent like this, others with expensive software but less artistry.