Moulin Rouge and Romeo + Juliette

Résumé du document

Romeo+Juliet and Moulin Rouge are two movies directed by the eccentric Baz Luhrmann. In these love stories, Baz Luhrmann especially stake on the visual and the abundance: the abundance of decorations, the abundance of colourful visuals (Moulin Rouge « uses the colourful musical setting of the Montmartre quarter »), the abundance of the actor's play, the abundance of the story, the abundance of love, the abundance of money. This abundance allows us some questions about the marginality and the networks in these movies. But on thinking it over we can see that Romeo+Juliet and Moulin Rouge are almost the same, we meet again the same state's mind of the characters, and even the same characters. Thanks to all of this, we shall study a lot of things: first, we are going to say a few words about the great director, Baz Luhrmann, then we will sum up Romeo+Juliet and Moulin Rouge. In a third part, we shall see that Moulin Rouge took one inspiration of Romeo+Juliet and then, we'll study the marginality of the characters, of the theatricalness and of the different networks in these two movies.
To conclude we shall ask the question of what will be the problematic of this essay: Can not we think that the Baz Luhrmann's way to represent a musical comedy and an adaptation of a Shakespeare's famous play hide another gender of movies?

Extraits

[...] Thanks to these analyzes we can easily see that everything in Romeo+Juliet and in Moulin Rouge are very marginal, these movies permit the spectators to do a trip, to see anything else that they ever see, to change their mind about the musical comedy or old famous play. But we can ask: Do Romeo+Juliet and Moulin Rouge are too margins to be available to everybody? BIBLIOGRAPHY BOOK . Müller Jürgen, Les meilleurs films des années 90, Allemagne, Taschen WEB SITES . http://www.educnet.education.fr/ . http://wikipedia.org . http://evene.fr REVIEWS . [...]

[...] A few words about Baz Luhrmann Baz Luhrmann is an Australian director who has only directed three movies: Ballroom Dancing, Romeo + Juliet and Moulin Rouge. Even if he has directed not much movies he is known as a great director. Born in New South Wales in September the 17th in 1962, Baz Luhrmann started his carrier in the National Institut of Dramatics Arts, where he discovered directing. One year after, he realizes his first short movie Strictly Ballroom. At the end of his studies he created the Six Years Company and thanks to the success of this company, he turns Stricly Ballroom (1991) into a full-length movie (Ballroom Dancing) which will win eight Australian Awards. [...]

[...] Romeo+Juliet hide some gangsters and western scenes. At the beginning of the movie, it is like a gangster movie, Baz Luhrmann present the characters one by one; for example, we see the city, several fights between the Capulet and Montaigue, their faces are on all newspapers, their fights are choreographed like gangster's one so it give its some credibility. When Benvolio meets Tybalt at the petrol pump, the mise en scene is a western's one mixed with a gangster' one, the music is a one that we can heard in westerns, Baz Luhrmann films the feet of the actors who wears santiags with spurs, he direct this scene like a dual with choreographed fights and when the characters present their guns. [...]

[...] Les Cahiers du Cinéma, # 512, april Les Cahiers du Cinéma, # 561, october Synopsis, summer 1999 MOVIES . [...]

[...] But there are not only the characters who are the same in Moulin Rouge and Romeo+Juliet, we note that a few scenes are the same ones. First of all, the scene of the fancy-dress ball in Romeo+Juliet has been revived in Moulin Rouge during one of the first scene when Baz Luhrmann presents us the Moulin Rouge and how to live in this place. These two scenes are meeting scenes between Romeo and Juliet and between Christian and Satine. These scenes show the entertainment, the wealth and especially do not show us the real faces, the real personalities of all the characters because they are all caught aback, so they can hide who they really are, and they can pass themselves as another person. [...]