Editing Moulin Rouge! (section)

==Production==

===Writing and inspiration===
''Moulin Rouge!'' was influenced by an eclectic variety of comic and melodramatic musical sources, including the [[Musical film|Hollywood musical]], "[[vaudeville]], [[cabaret|cabaret culture]], stage musicals, and operas." Its musical elements also allude to Luhrmann's earlier film ''[[Strictly Ballroom]].''<ref name=Kinder>{{cite journal|last=Kinder|first=Marsha|title=Moulin Rouge|journal=[[Film Quarterly]]|volume=55|issue=3|pages=52–53|date=Spring 2002|url=https://online.ucpress.edu/fq/article-abstract/55/3/52/28826/Moulin-Rouge?redirectedFrom=fulltext|doi=10.1525/fq.2002.55.3.52|issn=0015-1386|url-access=subscription}}</ref>

[[Giacomo Puccini|Giacomo Puccini's]] opera ''[[La bohème]]'', which Luhrmann directed at the [[Sydney Opera House]] in 1993, was a key source of the plot for ''Moulin Rouge!''.<ref name=ConnerBennett>{{cite journal|last=Conner Bennett|first=Kathryn|title=The gender politics of death: Three formulations of ''La Bohème'' in contemporary cinema|journal=[[Journal of Popular Film and Television]]|volume=32|issue=3|page=114|date=2004|url=https://www.tandfonline.com/doi/abs/10.1080/01956051.2004.10662056|doi=10.1080/01956051.2004.10662056|s2cid=154025769|issn=1930-6458|url-access=subscription}}</ref> Further stylistic inspiration came from Luhrmann's encounter with [[Bollywood]] films during his visit to [[India]] while conducting research for his 1993 production of [[Benjamin Britten|Benjamin Britten's]] opera ''[[A Midsummer Night's Dream (opera)|A Midsummer Night's Dream]]''.<ref>{{cite web|last=Lee|first=Janet W.|title=How a Bollywood film inspired Baz Luhrmann to bring 'Moulin Rouge' to Broadway|website=[[Yahoo! Entertainment]]|date=28 October 2020|url=https://www.yahoo.com/entertainment/bollywood-film-inspired-baz-luhrmann-184119779.html|access-date=1 April 2021|url-status=live|archive-url=https://web.archive.org/web/20201129141105/https://www.yahoo.com/entertainment/bollywood-film-inspired-baz-luhrmann-184119779.html|archive-date=29 November 2020}}</ref> According to Luhrmann:
{{blockquote|. . . we went to this huge, ice cream picture palace to see a Bollywood movie. Here we were, with 2,000 Indians watching a film in [[Hindi]], and there was the lowest possible comedy and then incredible drama and tragedy and then break out in songs. And it was three-and-a-half hours! We thought we had suddenly learnt Hindi, because we understood everything! We thought it was incredible. How involved the audience were. How uncool they were – how their coolness had been ripped aside and how they were united in this singular sharing of the story. The thrill of thinking, 'Could we ever do that in the West? Could we ever get past that cerebral cool and perceived cool.' It required this idea of comic-tragedy. Could you make those switches? Fine in [[Shakespeare]] – low comedy and then you die in five minutes. . . . In ''Moulin Rouge!'', we went further. Our recognisable story, though [[Orphean (mythology)|Orphean]] in shape, is derived from ''[[La Dame aux Camélias|Camille]]'', ''La Boheme'' – whether you know those texts or not, you recognise those patterns and character types.<ref>{{Cite news |last=Andrew |first=Geoff |date=7 September 2001 |title=Baz Luhrmann (I) |work=Guardian interviews at the [[BFI]] |agency=[[The Guardian]] |url=https://www.theguardian.com/film/2001/sep/07/1 |url-status=live |access-date=15 February 2014 |archive-url=https://web.archive.org/web/20140509221831/https://www.theguardian.com/film/2001/sep/07/1 |archive-date=9 May 2014}}</ref>}}

In the DVD's [[audio commentary]], Luhrmann revealed that he also drew from the [[Greek tragedy]] of [[Orpheus and Eurydice]]. The filmmakers projected the Orpheus figure onto Christian by characterizing the latter as a musical [[genius]] whose talent surpassed that of everyone else in his world. The film's use of songs from the mid- to late 20th century in the 1899 setting makes Christian appear ahead of his time as a musician and writer. ''Moulin Rouge!''′s plot also parallels that of the myth: "McGregor, as a poet who spouts deathless verse . . . , descends into a hellish underworld of prostitution and musical entertainment in order to retrieve Kidman, the singing courtesan who loves him but is enslaved to a diabolical duke. He rescues her but looks back and . . . cue [[Queen (band)|Queen's]] '[[The Show Must Go On (Queen song)|The Show Must Go On]].'"<ref>{{cite news|last=Green|first=Jesse|title=How do you make a movie sing?|url=https://www.nytimes.com/2001/05/13/magazine/how-do-you-make-a-movie-sing.html|work=[[The New York Times Magazine]]|date=13 May 2001|access-date=8 July 2021}}</ref>

Commentators have also noted the similarities between the film's plot and those of the opera ''[[La Traviata]]''<ref>{{cite web|url=https://eno.org/discover-opera/la-traviata-in-pop-culture/|title=La traviata in pop culture|date=n.d.|website=Discover opera|publisher=[[English National Opera]]|access-date=15 January 2021|url-status=live|archive-url=https://web.archive.org/web/20200930093718/https://eno.org/discover-opera/la-traviata-in-pop-culture/|archive-date=30 September 2020}}</ref> and [[Émile Zola|Émile Zola's]] novel ''[[Nana (novel)|Nana]]''.<ref>{{cite journal|last=Magedanz|first=Stacy|title=Allusion as form: ''The Waste Land'' and ''Moulin Rouge!''|journal=[[Orbis Litterarum]]|volume=62|issue=2|page=160|date=2006|doi=10.1111/j.1600-0730.2006.00853.x|s2cid=170576709 |url=https://scholarworks.lib.csusb.edu/cgi/viewcontent.cgi?article=1012&context=library-publications|access-date=27 January 2021|url-status=live|archive-url=https://web.archive.org/web/20200809060749/https://scholarworks.lib.csusb.edu/cgi/viewcontent.cgi?article=1012&context=library-publications|archive-date=9 August 2020|url-access=subscription}}</ref> Other cinematic elements appear to have been borrowed from the musical films ''[[Cabaret (1972 film)|Cabaret]]'',<ref name=Mitchell>{{cite news|last=Mitchell|first=Elvis|title=An eyeful, an earful, an anachronism: Lautrec meets Lady Marmalade|url=https://www.nytimes.com/2001/05/18/movies/film-review-an-eyeful-an-earful-anachronism-lautrec-meets-lady-marmalade.html|work=[[The New York Times]]|date=18 May 2001|access-date=5 February 2021|url-status=live|archive-url=https://web.archive.org/web/20150527164930/https://www.nytimes.com/2001/05/18/movies/film-review-an-eyeful-an-earful-anachronism-lautrec-meets-lady-marmalade.html|archive-date=27 May 2015}}</ref> ''[[Folies Bergère de Paris]]'', and ''[[Meet Me in St. Louis]]''.<ref name="AFI">{{cite web|url=http://catalog.afi.com/Catalog/moviedetails/53921|title=Moulin Rouge!|website=[[AFI Catalog of Feature Films]]|publisher=[[American Film Institute]]|date=n.d.|access-date=4 July 2018|url-status=live|archive-url=https://web.archive.org/web/20180704035742/http://catalog.afi.com/Catalog/moviedetails/53921|archive-date=4 July 2018}}</ref>

The character of Satine was based on the French [[can-can]] dancer [[Jane Avril]].<ref>{{Cite news|last=Levy|first=Paul|title=The artistry of Toulouse-Lautrec and his dancing muse Jane Avril|work=[[The Wall Street Journal]]|date=17 June 2011|url=https://www.wsj.com/articles/SB10001424052702304259304576377421861840808|access-date=30 April 2021|url-status=live|archive-url=https://web.archive.org/web/20160816112452/https://www.wsj.com/articles/SB10001424052702304259304576377421861840808|archive-date=16 August 2016}}</ref> The character of Harold Zidler shares his last name with [[Charles Zidler]], one of the owners of the real Moulin Rouge. Satie was loosely based on the French composers [[Erik Satie]] and [[Maurice Ravel]]. Môme Fromage, Le Pétomane, and Le Chocolat share their names with performers at the actual cabaret. [[Marlene Dietrich]], [[Greta Garbo]] and [[Rita Hayworth]] were cited as inspirations for the film's "look."<ref name="AFI" />

===Development===
[[Leonardo DiCaprio]], who worked with Luhrmann on ''[[Romeo + Juliet]]'', unsuccessfully auditioned for the role of Christian.<ref>{{cite news|last=Gray|first=Tim|title=Leonardo DiCaprio unleashes a fearless 'Wolf' performance|url=https://variety.com/2014/film/news/leonardo-dicaprio-tackles-roles-that-push-the-envelope-1201096254|work=[[Variety (magazine)|Variety]]|date=11 February 2014|access-date=4 March 2015|url-status=live|archive-url=https://web.archive.org/web/20150409184529/http://variety.com/2014/film/news/leonardo-dicaprio-tackles-roles-that-push-the-envelope-1201096254|archive-date=9 April 2015}}</ref><ref>{{Cite web |last=Robinson |first=Joanna |date=2014-02-13 |title=Leonardo DiCaprio Says His Atrocious Singing Voice Kept Him From Starring In Moulin Rouge |url=https://www.vanityfair.com/hollywood/2014/02/leonardo-dicaprio-moulin-rouge |access-date=2025-05-22 |website=Vanity Fair |language=en-US}}</ref><ref>{{Cite web |title=DiCaprio lost Moulin Rouge! because he can't sing |url=https://amp.rte.ie/amp/504278/ |access-date=2025-05-22 |website=amp.rte.ie}}</ref><ref>{{Cite web |last=Alexander |first=Harriet |date=2024-04-18 |title=Leonardo DiCaprio is tipped to play Frank Sinatra. Can he sing? |url=https://www.thetimes.com/world/article/leonardo-dicaprio-frank-sinatra-movie-5j3m5glc9 |access-date=2025-05-22 |website=www.thetimes.com |language=en}}</ref> [[Ethan Hawke]] also read for the role.<ref>{{cite web | url=https://screenrant.com/moulin-rouge-role-ethan-hawke-ewan-mcgregor/ | title=Ethan Hawke Recalls Losing Beloved Role to Ewan McGregor | website=[[Screen Rant]] | date=16 September 2022 }}</ref> Luhrmann also considered younger actors for the role, including [[Heath Ledger]] and [[Jake Gyllenhaal]], before Ewan McGregor won the part. [[Courtney Love]] auditioned for the role of Satine and gave approval for "[[Smells Like Teen Spirit]]" to be used in the film.<ref>{{cite news|last=Warner|first=Kara|title='Moulin Rouge' could have starred Heath Ledger, Baz Luhrmann reveals|publisher=[[MTV News]]|date=2 May 2011|url=http://www.mtv.com/news/1663127/moulin-rouge-baz-luhrmann-heath-ledger|access-date=5 March 2015|url-status=dead|archive-url=https://web.archive.org/web/20150406152322/http://www.mtv.com/news/1663127/moulin-rouge-baz-luhrmann-heath-ledger|archive-date=6 April 2015}}</ref>

===Filming===
Production began on 9 November 1999 and was completed on 13 May 2000,<ref>{{cite web | url=https://www.tcm.com/tcmdb/title/452492/moulin-rouge#notes | title=Moulin Rouge! }}</ref><ref>{{Cite web|title=Moulin Rouge! (2001) Filming & production|url=https://www.imdb.com/title/tt0203009/locations|website=[[IMDb]]|date=n.d.|access-date=22 July 2021|url-status=live|archive-url=https://web.archive.org/web/20210711124922if_/https://www.imdb.com/title/tt0203009/locations|archive-date=11 July 2021}}</ref> with a budget of $50 million.<ref name="mojo" /> It was shot on the sound stages at [[Fox Studios Australia|Fox Studios in Sydney]].<ref>{{cite news|last=Yee|first=Hannah-Rose|title=How Moulin Rouge broke every rule of filmmaking—and became a cinematic icon|url=https://www.vogue.com.au/culture/features/how-moulin-rouge-broke-every-rule-of-filmmakingand-became-a-cinematic-icon/news-story/8abcc9713dc0fa69ace9936411bdef8a|work=[[Vogue (magazine)|Vogue]]|date=6 May 2021|access-date=15 July 2021}}</ref> Filming generally went smoothly, but Kidman broke her ribs twice when she was lifted into the air during the dance sequences. She also suffered from a torn knee cartilage resulting from a fall during the "[[Diamonds Are a Girl's Best Friend]]" production song.<ref name="AFI" /> Kidman later stated in an interview with [[Graham Norton]] that she broke a rib while getting into a corset by tightening it as much as possible to achieve an 18-inch waist, and that she fell down the stairs while dancing in heels.<ref>{{Cite news|url=http://www.news.com.au/entertainment/movies/nicole-kidman-i-broke-my-rib-getting-into-corset-for-moulin-rouge/story-e6frfmvr-1227137677094|title= Nicole Kidman: 'I broke my rib getting into corset for Moulin Rouge'|website=[[news.com.au]]|publisher=[[News Corp Australia]]|date=28 November 2014|access-date=21 June 2021|url-status=live|archive-url=https://web.archive.org/web/20210224173642/https://www.news.com.au/entertainment/movies/nicole-kidman-i-broke-my-rib-getting-into-corset-for-moulin-rouge/news-story/ae477d662653d4175af503456ec12356|archive-date=24 February 2021}}</ref> The production overran its shooting schedule and had to be out of the sound stages to make way for ''[[Star Wars: Episode II – Attack of the Clones]]'' (which also starred McGregor). This necessitated the filming of some [[Pick-up (filmmaking)|pick-up shots]] in [[Madrid]].<ref>{{cite magazine|editor1-last=Brod|editor1-first=Doug|editor2-last=Grisolia|editor2-first=Cynthia|title=May summer movie preview: Moulin Rouge|magazine=[[Entertainment Weekly]]|date=27 April 2001|issue=593|page=43|issn=1049-0434}}</ref><ref>{{cite magazine|author=<!--Not stated-->|title=Moulin Rouge|url=https://ew.com/article/2001/04/19/moulin-rouge-2|magazine=[[Entertainment Weekly]]|date=17 March 2020|access-date=7 July 2021}}</ref>

In the [[liner notes]] to the film's Special Edition DVD, Luhrmann writes that "[the] whole stylistic premise has been to decode what the Moulin Rouge was to the audiences of 1899 and express that same thrill and excitement in a way to which contemporary movie-goers can relate."<ref name=liner/> Both [[Roger Ebert]] and ''[[The New York Times]]'' compared the film's editing and cinematography to that of a music video and noted its visual homage to early [[Technicolor]] films.<ref name=Ebert>{{cite web|last=Ebert|first=Roger|author-link=Roger Ebert|title=Moulin Rouge|website=[[RogerEbert.com]]|date=1 June 2001|url=https://www.rogerebert.com/reviews/moulin-rouge-2001|access-date=8 February 2021|url-status=live|archive-url=https://web.archive.org/web/20130506044707/https://www.rogerebert.com/reviews/moulin-rouge-2001|archive-date=6 May 2013}}</ref><ref name=Mitchell />

===Music===
Marsha Kinder describes ''Moulin Rouge!'' as a "brilliant," "celebratory," and "humorous" musical and aural [[pastiche]] due to its use of diverse songs.{{sfn|Kinder|2002|pp=52 & 54}} ''Moulin Rouge!'' takes well-known [[popular music]], mostly drawn from the [[MTV Generation]], and juxtaposes it into a tale set in a turn-of-the-century Paris [[cabaret]].<ref name=liner>Liner notes, Special Edition DVD</ref> Kinder holds that keeping borrowed lyrics and melodies intact "makes it almost impossible for spectators to miss the poaching [of songs] (even if they cannot name the particular source)."{{sfn|Kinder|2002|p=54}}

The film uses so much popular music that it took Luhrmann two and a half years to secure the rights to all of the songs.<ref>{{cite news|last=Turan|first=Kenneth|title=Tripping the light|url=https://www.latimes.com/archives/la-xpm-2001-may-18-ca-64908-story.html|date=18 May 2001|work=[[Los Angeles Times]]|access-date=22 June 2021}}</ref> Some of the songs sampled include "[[Chamma Chamma]]" from the [[Hindi]] movie ''[[China Gate (1998 film)|China Gate]]'', [[Queen (band)|Queen]]'s "[[The Show Must Go On (Queen song)|The Show Must Go On]]" (arranged in operatic format), [[David Bowie]]'s rendition of [[Nat King Cole]]'s "[[Nature Boy (song)|Nature Boy]]", "[[Lady Marmalade]]" by [[Labelle]] (in the [[Christina Aguilera]]/[[Pink (singer)|P!nk]]/[[Mýa]]/[[Lil' Kim]] [[Cover version|cover]] commissioned for the film), [[Madonna]]'s "[[Material Girl]]" and "[[Like a Virgin (song)|Like a Virgin]]", [[Elton John]]'s "[[Your Song]]", the [[The Sound of Music (song)|titular number]] of ''[[The Sound of Music]]'', "[[Roxanne (The Police song)|Roxanne]]" by [[The Police]] (in a [[Tango music|tango]] format using the composition "Tanguera" by [[Mariano Mores]]), and "[[Smells Like Teen Spirit]]" by [[Nirvana (band)|Nirvana]].

Luhrmann had intended to incorporate songs by [[The Rolling Stones]] and [[Cat Stevens]] into the film, but could not obtain the necessary rights from these artists. When Stevens denied consent for the use of "[[Father and Son (song)|Father and Son]]" due to religious objections to the film's content, "[[Nature Boy (song)|Nature Boy]]" was chosen as its replacement.<ref name="AFI" />