Nicole Kidman rocks around the clock in Baz
Luhrmann’s ‘Moulin Rouge,’ a seductive musical that blends modern
pop songs with the Paris of Toulouse-Lautrec.
Leave it to director Baz Luhrmann to find a way to get Nicole
Kidman up on a trapeze, Ewan McGregor into the belly of an elephant,
and John Leguizamo onto four sets of stubby prosthetic legs—all
for one movie. Moulin Rouge, the third of what Luhrmann calls
his “red curtain style” films (Strictly Ballroom and William
Shakespeare’s Romeo + Juliet share a similarly theatrical, stylized
sense of reality), is a musical extravaganza set in the fin-de-siècle
Paris nightclub made famous by can-can–dancing prostitutes and the
artist Toulouse-Lautrec. But the story is as ancient as the Orpheus
myth (a naive poet, played by McGregor, ventures into the bohemian
underworld and finds star-crossed love with the courtesan Satin,
played by Kidman) and as modern as the U2 and Elton John songs the
characters croon. In fact, Luhrmann and his production-designer
wife, Catherine Martin, considered setting the movie (due this summer)
in the Studio 54 era before deciding it needed to take place instead
“in an exotic land far, far away, but familiar,” Luhrmann says.
Some 20 sets were constructed on the Fox lot in Sydney, including
the nightclub’s opulent red-velvet and gold interior and a 30-foot
papier-mâché elephant that sits in the garden of delights out back,
where the can-can dancers canoodle with their customers. Martin
and her team costumed more than 350 dancers and extras for the big
production numbers and faced a different kind of challenge making
Leguizamo, who plays Toulouse-Lautrec, fit into the painter’s famously
short stature. Since Luhrmann didn’t want to confine the actor to
the blue screen and shorten his legs digitally, they fashioned a
series of short artificial limbs that attached at Leguizamo’s knees
and allowed him to walk, sit, or stand with the other actors.
To
pair the extravagant visuals with what Luhrmann calls “the soundtrack
of your dreams,” the director incorporated musical sources as diverse
as Debussy, Rodgers & Hammerstein, and the Beatles. “This is
a break-out-into-song musical,” he says. “The major emotional scenes
are sung.” Kidman, who “sort of sang in a band” when she was 17
(Blondie songs were her forte), says, “Singing isn’t something where
I go, ‘Oh, great, I can’t wait to sing in front of everyone again.’
It’s fine singing in character as Satin; it’s just awful singing
as Nicole.” Luhrmann is the kind of director who inspires actors
to take such risks, however. “Baz’s mind is weird,” Kidman says
fondly.
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