| Moulin Rouge | |
|---|---|
 Theatrical release poster | |
| Directed by | John Huston |
| Screenplay by |
|
| Based on | Moulin Rouge 1950 novel byPierre La Mure |
| Produced by | John and James Woolf |
| Starring | |
| Cinematography | Oswald Morris |
| Edited by | Ralph Kemplen |
| Music by | |
Production company | |
| Distributed by | British Lion Films |
Release dates |
|
Running time | 119 minutes |
| Country | United Kingdom |
| Language | English |
| Budget | $1.1 million[1] |
| Box office | $9 million[2] |
Moulin Rouge is a 1952 Britishhistoricalromantic drama film directed byJohn Huston from a screenplay he co-wrote withAnthony Veiller, based on the 1950 novel of the same name byPierre La Mure, and produced byJohn and James Woolf. The film follows artistHenri de Toulouse-Lautrec as he navigates the bohemian subculture of 19th-century Paris, centered around theMoulin Rouge, aburlesque venue. It was screened at the14th Venice International Film Festival, where it won the Silver Lion.
The film starsJosé Ferrer,Zsa Zsa Gabor,Suzanne Flon,Eric Pohlmann,Colette Marchand,Christopher Lee,Peter Cushing,Katherine Kath,Theodore Bikel, andMuriel Smith.
In 1890 Paris, crowds gather at the Moulin Rouge as artist Henri de Toulouse-Lautrec finishes a bottle of cognac while sketching the dancers. Regular patrons arrive: singer Jane Avril teases Henri, dancers La Goulue and Aicha argue, and owner Maurice Joyant offers Henri free drinks for a promotional poster. After closing, Henri reveals his 4-foot-6-inch (137 cm) stature. A flashback shows that, as a child, he injured his legs in a fall, which never healed due to a genetic disorder from his parents beingfirst cousins.
On his way home to Montmartre, Henri helps streetwalker Marie Charlet escape the police. Impressed by her lack of judgment about his disability, Henri allows her to stay with him. He soon realizes poverty has made her both harsh and free from societal hypocrisy. After a night out, she insults a portrait he painted of her, and he throws her out, sinking into alcoholism. His landlady contacts his mother, who urges him to find Marie to lift his spirits. Henri finds her drunk in a café, where she admits she stayed with him only to save money for her boyfriend, who has now left her. Depressed, Henri returns home and contemplates suicide but finds sudden inspiration to complete the Moulin Rouge poster. Surviving his crisis, he arranges for Marie to receive money for a new life.
Henri delivers the poster to Maurice, who accepts it despite its unconventional style. His success grows, but one of his risqué portraits leads his father to denounce his work. Henri continues depicting Parisian nightlife, gaining fame but few friends. One day, he meets a young woman, Myriamme, on thePont Alexandre III, seemingly about to jump into the Seine. She assures him she is not suicidal and throws a key into the river. Later, while shopping with Jane Avril, Henri recognizes Myriamme modeling gowns. A friend of Jane's, she lives independently. Henri is surprised when Myriamme reveals she bought his portrait of Marie at a flea market. The key Myriamme discarded belonged to a suitor, Marcel de la Voisier, who wanted her as a lover but refused to marry her. Though cynical about love, Henri begins to fall in love with her.
One evening, Henri and Myriamme encounter La Goulue, now a washed-up, drunken figure, and Henri realizes the Moulin Rouge has become respectable. Myriamme informs Henri that Marcel has proposed. Henri bitterly congratulates her. When she asks if he loves her, Henri lies and says he does not, believing she is toying with his feelings. The next day, Henri receives a letter from Myriamme, confessing her love and that his bitterness has ruined their chance at happiness. He rushes to her apartment, but she has already left.
A year later, Henri, now an alcoholic, is found drunk in a dive bar, still obsessed with Myriamme's letter. Taken home, he suffers fromdelirium tremens and hallucinates cockroaches. While trying to fend them off, he falls down the stairs. Taken to his family's chateau, his condition worsens. On his deathbed, Henri's father informs him he will be the first living artist to be exhibited in the Louvre and begs for forgiveness. In his final moments, Henri envisions figures from his Moulin Rouge paintings dancing around his room.
In the film,José Ferrer portrays both Henri de Toulouse-Lautrec and his father, the Comte Alphonse de Toulouse-Lautrec. To transform Ferrer into Henri de Toulouse-Lautrec, various techniques were employed, including the use of platforms, concealed pits, special camera angles, makeup, and costumes. Shortbody doubles were also utilized. Ferrer designed and used a set of knee pads that allowed him to walk on his knees, simulating Henri de Toulouse-Lautrec's distinctly shorter stature. Ferrer received significant praise not only for his performance but also for his willingness to have his legs strapped in this manner for the role.
It was reported that John Huston asked cinematographerOswald Morris to render the color scheme of the film to look "as if Toulouse-Lautrec had directed it".[4]Moulin Rouge was shot in three-stripTechnicolor. The Technicolor projection print is created by dye transfer from three primary-color gelatin matrices. This permits great flexibility in controlling the density, contrast, and saturation of the print. Huston asked Technicolor for a subdued palette, rather than the sometimes-gaudy colors "glorious Technicolor" was famous for. Technicolor was reportedly reluctant to do this.
The film was shot atShepperton Studios,Shepperton,Surrey,England, and on location inLondon andParis.
The budget was £434,264 plus $160,000 to cover the fees of John Huston, José Ferrer and Zsa Zsa Gabor.[5]
The Monthly Film Bulletin wrote: "This long and pretentious film is, like Pierre La Mure's book, not an accurate biography of Lautrec, but an attempt to evoke the kind of man he was and to paint a vivid fresco of his period and background. ...The dialogue, with its attempts at smart and worldly wise aphorisms, the deadly even pace and unrelenting detachment add up only to two hours of innate boredom, relieved from time to time by some striking effects of colour. The sets, costumes and photography are, indeed, on a much higher level than the rest; there are moments when the surface achieves a fine visual approximation of Lautrec's Paris, and as a result of which the vulgarity of the treatment appears all the more discordant. The acting is chiefly remarkable for a constant babel of foreign accents, among which the most extraordinary are Zsa Zsa Gabor's high-pitched Viennese exclamations."[6]
During its first year of release it earned £205,453 in UK cinemas[7] and grossed $9 million at the North American box office.[2]
According to theNational Film Finance Corporation, the film made a comfortable profit.[8]
Ferrer received 40 per cent of the proceeds from the film as well as other rights. This remuneration gave rise to a prominentU.S. Second Circuit tax case,Commissioner v. Ferrer (1962), in which Ferrer argued that he was taxed too much.[9]
| Award | Category | Nominee(s) | Result | Ref. |
|---|---|---|---|---|
| Academy Awards | Best Motion Picture | John Huston | Nominated | [10] [11] |
| Best Director | Nominated | |||
| Best Actor | José Ferrer | Nominated | ||
| Best Supporting Actress | Colette Marchand | Nominated | ||
| Best Art Direction – Color | Art Direction:Paul Sheriff; Set Decoration:Marcel Vertès | Won | ||
| Best Costume Design – Color | Marcel Vertès | Won | ||
| Best Film Editing | Ralph Kemplen | Nominated | ||
| British Academy Film Awards | Best Film from any Source | Nominated | [12] | |
| Best British Film | Nominated | |||
| Most Promising Newcomer to Film | Colette Marchand | Nominated | ||
| British Society of Cinematographers Awards | Best Cinematography in a Theatrical Feature Film | Oswald Morris | Won | [13] |
| Golden Globe Awards | Most Promising Newcomer – Female | Colette Marchand | Won | [14] |
| National Board of Review Awards | Top Foreign Films | 2nd Place | [15] | |
| Venice Film Festival | Golden Lion | John Huston | Nominated | |
| Silver Lion | Won | |||
| Writers Guild of America Awards | Best Written American Drama | Anthony Veiller and John Huston | Nominated | [16] |
The film was not nominated for its colorcinematography, which many critics[who?] found remarkable.Leonard Maltin, in his annual Movie and Video Guide declared: "If you can't catch this in color, skip it."[citation needed]
In an interview shortly after his successful film version ofCabaret opened,Bob Fosse acknowledged John Huston's filming of the can-can inMoulin Rouge as being very influential on his own film style.[citation needed]
TheMoulin Rouge theme song became well known and made it onto the record industry charts.[citation needed]
The film was nominated for inclusion on theAmerican Film Institute list of100 Greatest Film Scores, but was not included on the final list.[17]
The film wasdigitally restored byFotoKem forBlu-ray debut. Frame-by-frame digital restoration was done byPrasad Corporation removing dirt, tears, scratches and other defects.[18][19] In April 2019, a restored version of the film fromThe Film Foundation,Park Circus,Romulus Films, andMGM was selected to be shown in the Cannes Classics section at the2019 Cannes Film Festival.[20]
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