Download Moulin Rouge Scene Analysis

Throughout the film, Moulin Rouge, Baz Luhrmann uses an eclectic collection of narration
and theatrical styles in order to deliver his vision of a visual extravaganza. In scene 14 ‘Elephant Love
Medley’, Luhrmann portrays a key milestone of the ‘Orphean Myth’ wherein Satine is wooed by
Christian’s musical ability and convinces Zidler of his ‘promise’ as the new director of the Moulin
Rouge’s new show, and hence Zidler’s pitch for the Duke’s patronage.
The comparative natures of each character to their Orphean Myth counterpart and the
undercurrent of the Orhpean Myth narrative drive the tragic story of Christian and Satine’s love. The
full-body shot of Satine upon finding out Christian is not the Duke, exposes the horror and disgust
toward him, revealed by the use of hostile body language. This is starkly contrasted and juxtaposed
to the close up shot of Satine upon hearing Christian’s singing. Her features soften and she melts as
the diegetic music washes over her, the melodic nature of the song soothing her from her hardened
exterior that she had thus far externalised. The use of jump cuts between these two characters in
this moment show the direct correlation of Chirstian’s song and Satine’s burgeoning love as a
response to this.
Luhrmann’s use of colour in the Elephant Room is indicative of his application of the
Bollywood style of theatre within, not only the film but also as a driving force behind the imminent
‘Spectacular Spectacular’ show. Luhrmann uses the Bollywood genre for its ability to heighten and
distort reality within the film. This is seen, not only in the traditional dance of the Bohemians, Zidler,
Christian and Satine, but also through Zidler’s satirical ‘whizzing’ around the Duke as he makes his
pitch for patronage. This satirical ‘whizzing’ lightens the tension surrounding the ever-present
possibility that the Duke may discover the elaborate ruse being hidden before him.
As a portrayal of the Underworld’s lord and master, the Duke is the point, around which, the
tension revolves. Through Christian’s vocals and the dynamic actions and dance, the Duke agrees
and allows the show to proceed with his funding. This mirrors the ‘Orphean Myth’ where Orpheus
convinces Hades to allow Eurydice to leave the Underworld through an application of his musical
talent. It is Luhrmann’s purpose to depict this storyline throughout the film so as to add a depth to
each character and amplify their characteristics. The close up camera shots of the Duke and the
jump cuts to the elaborate and anarchical dancing of the Bohemians, Christian and Satine reveal the
desperation of the cast to convince and the apprehension of the Duke.
The traditional props and colours of the Bollywood theatre style render the audience in awe
of the elaborate setting which serves to heighten the tone of the intricate deception. The mise-enscene establishes this tension through the anxiousness evident in the Bohemians, Satine and
Christian as they lean forward, awaiting the decision of the Duke.
Lurhmann’s masterpiece fuses a number of stylistic methods in the creation of Moulin
Rouge, using a number of filmic devices to achieve such a visual extravaganza. This fusion of stylistic
methods creates an intense text for study at the Stage 6 level.