MOULIN ROUGE
Luhrman’s Subjective Camera in Moulin Rouge
Director Baz Luhrman redefines the movie musical with his interpretation of Moulin Rouge. Luhrman utilizes the subjective camera to showcase the love story of Satine (Nicole Kidman) and Christian (Ewan McGregor) in the film. Luhrman gives the viewer a tapestry of images to digest with his fast, split second shots jumping from scene to scene captivating the attention of the audience. Luhrman integrates shots and scenes together to create a natural flow to the story which enhances the film. Luhrman manages to make good use of a variety of camera shots including panning the landscape of Paris and the infamous windmill, dolly shots to highlight the musical numbers performed at the Moulin Rouge, and crane shots to capture the illustrious set and the action of the film particularly a scene showcasing Satine performing high up on a swing. Since the film was shot entirely on self created sets in a film studio, Luhrman has no need for aerial shots. Luhrman focuses the remaining zoom, handheld, and tilt shots on the characters reactions to the drama to provide a point of view with their character development. With the dazzling musical production numbers, artistic camera shots, and swift editing, Luhrman creates a visual where viewers will want to keep their eyes glued to the screen not blinking for fear of missing a moment of his masterpiece, Moulin Rouge.
Director Baz Luhrman redefines the movie musical with his interpretation of Moulin Rouge. Luhrman utilizes the subjective camera to showcase the love story of Satine (Nicole Kidman) and Christian (Ewan McGregor) in the film. Luhrman gives the viewer a tapestry of images to digest with his fast, split second shots jumping from scene to scene captivating the attention of the audience. Luhrman integrates shots and scenes together to create a natural flow to the story which enhances the film. Luhrman manages to make good use of a variety of camera shots including panning the landscape of Paris and the infamous windmill, dolly shots to highlight the musical numbers performed at the Moulin Rouge, and crane shots to capture the illustrious set and the action of the film particularly a scene showcasing Satine performing high up on a swing. Since the film was shot entirely on self created sets in a film studio, Luhrman has no need for aerial shots. Luhrman focuses the remaining zoom, handheld, and tilt shots on the characters reactions to the drama to provide a point of view with their character development. With the dazzling musical production numbers, artistic camera shots, and swift editing, Luhrman creates a visual where viewers will want to keep their eyes glued to the screen not blinking for fear of missing a moment of his masterpiece, Moulin Rouge.
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