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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Reader Spotlight: K.M. Soehnlein

Are you still enjoying the reader spotlights? I hope you've found a few kindred spirits in the featured readers thus far. Today, I'm talking to K.M. Soehnlein in San Francisco who is a longtime reader and also a novelist. Discovering that novelists read you is a bit humbling. Anyway... let's talk!

Nathaniel: So... earlier this year you received the Warren Beatty book "STAR" from a Film Experience contest. What's your favorite nugget so far?
K.M. SOEHNLEIN: There’s a nugget on every page of “Star,” if by nugget you mean hot steamy chunk of gossip: “He made love to [Joan] Collins relentlessly, although every now and then he would accept calls while he was inside her.” In the Introduction to the book, Peter Biskind, the author, says he’s interested in Beatty as “one of the foremost filmmakers of his generation…at the intersection between politics and culture.” But he also talks about how difficult Beatty was to get interviews with, and you start to suspect, as the negative characterizations of Beatty pile up, that maybe Biskind is enacting some kind of revenge on his “star.”

But! There are absolutely page-turning stories about film production. I just finished reading the chapter on Bonnie and Clyde. I had no idea it was so difficult to get this film or that it was the vehicle that saved Beatty from a string of flops that would have sunk his career before he was 30.
 
You've written books yourselves and graciously sent me two. I'm really enjoying "The World of Normal Boys" and especially love the movie references, duh! How autobiographical are they?

Soehnlein's book references three huge musicals of its era

I’m glad you like the book! The scenes in my novel are mostly fictional – I never went to a drive-in to see Saturday Night Fever with the sexy older boy next door – but the music, the setting, the flavor of the times, that’s all from experience. Yeah, I’m a child of the 70s which meant we had one “stereo system” in the house. My parents had lots of soundtrack albums, so that was the first music I listened to as a kid: The King and I, Funny Girl, Godspell (we were Catholic), and the one I got completely obsessed about, West Side Story. I had every lyric memorized before I'd ever see these movies. I don’t think I could overstate the phenomenon of Grease when it came out in 1978. Kids were OBSESSED with it. I used to walk around with the girls in my neighborhood playing the soundtrack on portable cassette player, acting like the Pink Ladies.
 
Your three favorite actresses. Go.
Old school: Natalie Wood would be my first answer but that’s not because she was the best actress – in fact she’s often pretty terrible – but just because of my West Side Story obsession. When she cries those tears of injustice at the end of the film – “How many bullets left in this gun? Enough for you, and you, and you?” – I think some kind of tragic template lodged in my blood that has never quite left. Reigning queen: Julianne Moore. It might be a redhead identification thing, but I love her in everything. I especially like her in comedies, from The Big Lebowski to The Kids are All Right, though my favorite performance is in Far From Heaven. Rising star: Give me more Michelle Williams. (Meek’s Cutoff recently opened in San Francisco.)

Take an Oscar away. Give it to someone else.
Only one? Didn’t one of your recent readers get six? OK let’s take away Cate Blanchett’s Oscar for that hammy imitation of Katherine Hepburn in The Aviator and give it to any of the four women she was nominated against: Laura Linney in Kinsey, Virginia Madsen in Sideways, Sophie Okonedo in Hotel Rwanda, or Natalie Portman in Closer. (Maybe if Natalie had won that year we could have seen Michelle Williams win this year… Sorry, wishful thinking.) Just for the record I love me some Cate Blanchett but I’d have given her the statue all the way back for Elizabeth. Sorry, Gwyneth.

Supporting Actress 2004

Name your favorite in each of the following 4 genres: Drama, Horror, High School, Woody Allen.
Drama Something by Mike Leigh, probably Naked or Secrets and Lies. Horror Carrie. High School The Incredibly True Adventures of Two Girls in Love, which was my good friend Maria Maggenti’s debut back in the mid-90s and which I have a huge sweet spot for. (Plus: Dale Dickey in an early role.) Woody Stardust Memories.

They put you in charge of the movies. How do you wield this awesome power?
Well if I can be completely self-interested the first thing I’d do is green-light the film adaptation of The World of Normal Boys which I’ve been trying to get made for ten years.

Then I’d wield my awesome power to dump money on all the filmmakers I love: Mike Leigh, Todd Haynes, John Cameron Mitchell, Kelly Reichardt, Spike Lee, John Waters, etc. etc. etc. I’d put limits on the amount of money any single film could cost. I’d set up some kind of incredibly well-funded National Film Agency, maybe run by a cabinet-level Secretary of the Arts, (how about Meryl Streep?). I’d make sure artists had health care. Socialism. Yes please.

previous spotlights

The Harvey Girl.

 Jose here with one for all of you Streep obsessives.... which is, hmmm, 88% of TFE readers? Last week The Weinstein Company acquired distribution rights for Meryl Streep's Margaret Thatcher movie The Iron Lady. Apparently Harvey Weinstein was so impressed with Meryl (duh?) that he just had to have this movie.

What does this mean in terms of Oscar? Meryl probably has it in the bag. Consider: Back in the glory days of Miramax, Meryl was nominated for Music of the Heart (one of the most forgettable performances in her oeuvre) and people like Émilie Dequenne, Julia Roberts, Cecilia Roth and Nicole Kidman were snubbed. Meryl had no chance of winning that year but still...

Fast forward nine years and Meryl was back to represent Miramax with Doubt. Difference is that by then, the company had nothing to do with the Weinsteins and Harvey was hard at work getting Kate Winslet her Oscar. Meryl was inarguably the runner-up that calendar year but it would be interesting to think how things might have gone, had Harvey been pushing Meryl and not Kate. Let's not forget that back in 01, Miramax (under Harvey) won Jim Broadbent an Oscar for Iris, in the year of Gandalf and Don Logan.

Harvey Weinstein is as much of an Oscar obsessive as we are and 2011 marks the 30th anniversary of Meryl Streep's first Best Actress nomination (The French Lieutenant's Woman). Will he be using this as an angle in his campaign?

Related:
Current Best Actress Chart (next update when Cannes concludes)
Streep Posts and Old Streep Posts

Reader Spotlight: John from Boston

Continuing the Reader Appreciation Series, here's a conversation with John (pictured left) from Boston. He's been reading the site ever since it launched and hearing that warms the cockles of my heart. Loyalty is definite top ten top three material as character traits go, don't you think?

Nathaniel: Do you remember your first movie?
JOHN: I think my first movie was Cinderella.  I was so frightened of the evil stepmother that we had to leave early.  When I was young, every movie scared me.  I didn’t sleep for years after E.T.  (yet somehow/somewhere I became obsessed with this medium).

First movie obsession?
Probably Clue.  I remember renting it when I was home from school with chicken pox in fifth grade.  I probably watched it 10 times in one weekend.  It is so campy, but so utterly entertaining.  …and what a cast!!!  Eileen Brennan as Mrs. Peacock and Madeline Kahn as Mrs. White are classic!  I still bust that one out every once and a while.

I love that one, too. Mrs. White is the best in the movie but when I play the game though I am always Professor Plum or Miss Scarlet.

Mrs Peacock and Mrs. White

 Okay, you're suddenly in charge of the cinema for a year. How do you wield this awesome power?

• Todd Haynes and Julianne Moore have to make at least 2 movies together
• Tom Hanks, Julia Roberts and Sandra Bullock are put on one year hiatus (Meg Ryan would be too, but what the hell has she done lately)
• No sequels
• No Oscar campaigns
• I decide all Oscar nominees and winners

Heh. Okay. Who are your three favorite actresses?
JULIANNE MOORE is the God to whom I pray.  I saw her receive the Hasty Pudding award in February.  She cannot be more awesome.  There are too many awe-inspiring performances to name.  JUDI DENCH continues to amaze me.  I thought she could only be the strong, comic matriarch until she blew me away in Notes on a Scandal.  MERYL STREEP is a given.  She is so perfect every time out that I take her for granted.  If she doesn’t win a third Oscar sometime soon there is no justice.  Katharine Hepburn, Cate Blanchett, Julie Christie and Angela Bassett get special recognition.

Take one Oscar away from someone. Give it to someone else.
I can’t only do one here.  I have to take advantage of the moment.  I would go back to 1958 and give Susan Hayward’s Oscar for I Want to Live! to Rosalind Russell for Auntie Mame. Auntie Mame is my all time favorite and Russell is so spot-on.  One of the best comic performances ever!  Second, in 2005, I would take Reese Witherspoon’s Oscar for Walk the Line and give it to Joan Allen in The Upside of Anger.  It is a major travesty that this performance was not even nominated (Keira Knightley in Pride & Prejudice…what was the Academy thinking?). That was definitely Allen’s best--better than her three Oscar-nominated, which are all fantastic. 

2005's Film Bitch Gold Medalist Joan Allen has other fans. She shoulda won the Oscar.

Finally, I would take Kim Basinger’s 1997 Supporting Actress win for L.A. Confidential and give it to Julianne Moore in Boogie Nights.  This is my third choice because I still have faith that Juli will win one day.

Have you ever dressed up as a film character for Halloween? Has a film character ever dressed as you?
Like so many others in the past, I was tighty whitey clad Tom Cruise in Risky Business two years ago for Halloween.  I had the right hair at the moment .  He’s not a film character, but Matthew Morrison’s Will Schuester definitely raided my tie/cardigan collection.

Okay John. Let's wrap up. The movie of your life. Tell us about it.
Stephen Daldry would direct the movie of my life starring James Franco (I am not scarred enough by the Oscar gig to not cast him).  The movie is part Seasons 1-3 of Brothers and Sisters, part Mean Girls, part Into the Wild, part Latter Days, part The Devil Wears Prada, part…

So many parts!

Previous Spotlights

April Showers: Diane & Viggo 'Busy Being Free'

waterworks weeknights at 11 in April

Have you ever wondered why people don't talk more about Tony Goldwyn's A Walk on the Moon (1999)?  It's one of those pictures that contains all sorts of stuff people came to love afterwards in embryonic or transformational stages. It was here that Diane Lane practiced the mesmerizingly guilty adulteress act that she'd be Oscar nominated for in Unfaithful (2002). It was the moment when Viggo Mortensen, so often backgrounded in pictures till then, revealed that he was a Star. It was also the mainstream bridge between Anna Paquin's sexually curious wicked child (The Piano) and sexually wicked curious psychic (True Blood) since she played one of her most ordinary roles as a teenager struggling with all the hormones swirling around inside her and outside of her as her screen mother (Lane) was also experiencing a sexual awakening.

It was even in A Walk On the Moon that Liev Schreiber played the uptight wronged husband and, perhaps learning that Sex-On-A-Stick-Wife-Stealer was the better role, flipped parts for The Painted Veil (2006),  bedding Naomi Watts (onscreen) which he's been doing ever since offscreen. Now, maybe we're reading too much into it. But the point is this: We like A Walk on the Moon.

Mostly it's an enjoyable picture because Diane & Viggo were at the arguable peak of their screen beauty and looked even more sensational paired. Certain star pairings just elevate everything, right? And does any actress do 'aroused but totally conflicted about it' as well as Diane Lane? There are moments in this performance that are just mesmerizing like the one pictured above wherein she shyly lets Viggo give her a necklace, briefly daring to meet his gaze before dropping her head into his chest in submission. Her shyness is fascinatingly mixed in by the actress because the repetitive act of visiting his mobile clothing store is rather brazen; she knows instinctively what awaits her therein. Viggo is such a smooth and hypnotic ladykiller that her legs are over his shoulders before she's realized she's horizontal. Next thing you know, she's let her hair down metaphorically enough to experience sex in the outdoors. Under a waterfall, God's own high pressure shower.

More after the jump [mild nudity] including a question for film historians with a minor in sex scenes.

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