The story is one we've seen before, and will again, even though cinema of the 30s and 40s seems especially full of like fare. That doesn't mean that another rendition can't be entertaining and worthwhile in and of itself as a woman with aspirations is held back by a bull-headed, domineering husband, and she finds her own way around that obstacle - with its own fireworks to follow. By all means, in the broad strokes this looks and feels much like any contemporary comedy; what might be most distinguishing about it is simply its name, not least as it shares it with highly acclaimed pictures to follow in subsequent years from John Huston and Baz Luhrmann. Yet for any similarities that 1934's 'Moulin Rouge' may bear with other movies, let there be no doubt that this is great fun all on its own, and remains a delightful, quick watch.
Though the narrative is relatively common, the screenplay is nonetheless filled with cleverness and good humor to let this telling stand by itself. The specific scenario (show business!) and the characters are a joy, lent power by the musical flavors; the dialogue and scene writing is sharp and witty across the board, even as they dally with recognizable strains of gender dynamics and romance. The cast are clearly having a blast with the silliness, inhabiting their roles with spirit, vitality, and warmth, and it's hard to pick a favorite between Constance Bennett, Franchot Tone, and Tullio Carmineti. Their co-stars in supporting parts are just as splendid, though, including Helen Westley as put-upon Mrs. Morris. I rather think the writers and the actors evenly split credit for the lion's share of the film's value, for both contribute their own brilliant sparks to what 'Moulin Rouge' represents. As such, even a running side gag that in another title might quickly wear thin (interactions between Le Maire and a belligerent drunk) instead only adds to the frivolity.
This is hardly to discount the hard work of all others involved. The costume design and hair and makeup are lovely; the production design and art direction are very well done and quite fetching, surely almost as grand as anything we'd expect in like works. Both these facets are surely bolstered by the musical sequences that are a minor joy, with kitschy but welcome variety, and the sheer number of extras on hand. And kudos to director Sidney Lanfield for ably tying together all these moving parts; his orchestration of each scene somewhat seems to me to defer to the strength of the writing and the acting, only loosely and mindfully further shaping what already has found its own terrific form.
Highly enjoyable as it is, there's nothing about this that completely leaps out as a singular stroke of genius. For that matter, for any modern viewers who have difficulty engaging with older cinema, there's not necessarily anything here to change one's mind. Then again, there's no rule that says every movie of any esteem needs to be lightning in a bottle. Personal preferences vary. All I know is that I sat down hoping to have a good time, and 'Moulin Rouge' provided just that. It's lighthearted merriment that's well made, with fine writing and acting; what else should it be? Don't feel like you need to go out of your way for it, but if you have a chance to check it out, this is well deserving of a mere 70 minutes.
Though the narrative is relatively common, the screenplay is nonetheless filled with cleverness and good humor to let this telling stand by itself. The specific scenario (show business!) and the characters are a joy, lent power by the musical flavors; the dialogue and scene writing is sharp and witty across the board, even as they dally with recognizable strains of gender dynamics and romance. The cast are clearly having a blast with the silliness, inhabiting their roles with spirit, vitality, and warmth, and it's hard to pick a favorite between Constance Bennett, Franchot Tone, and Tullio Carmineti. Their co-stars in supporting parts are just as splendid, though, including Helen Westley as put-upon Mrs. Morris. I rather think the writers and the actors evenly split credit for the lion's share of the film's value, for both contribute their own brilliant sparks to what 'Moulin Rouge' represents. As such, even a running side gag that in another title might quickly wear thin (interactions between Le Maire and a belligerent drunk) instead only adds to the frivolity.
This is hardly to discount the hard work of all others involved. The costume design and hair and makeup are lovely; the production design and art direction are very well done and quite fetching, surely almost as grand as anything we'd expect in like works. Both these facets are surely bolstered by the musical sequences that are a minor joy, with kitschy but welcome variety, and the sheer number of extras on hand. And kudos to director Sidney Lanfield for ably tying together all these moving parts; his orchestration of each scene somewhat seems to me to defer to the strength of the writing and the acting, only loosely and mindfully further shaping what already has found its own terrific form.
Highly enjoyable as it is, there's nothing about this that completely leaps out as a singular stroke of genius. For that matter, for any modern viewers who have difficulty engaging with older cinema, there's not necessarily anything here to change one's mind. Then again, there's no rule that says every movie of any esteem needs to be lightning in a bottle. Personal preferences vary. All I know is that I sat down hoping to have a good time, and 'Moulin Rouge' provided just that. It's lighthearted merriment that's well made, with fine writing and acting; what else should it be? Don't feel like you need to go out of your way for it, but if you have a chance to check it out, this is well deserving of a mere 70 minutes.