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Moulin Rouge (2001)

Commentaries on this disc:

Commentary 1: Writer/director Baz Luhrmann, production designer Catherine Martin, and director of photography Don McAlpine Rating:5.6/10 (8 votes) [graph]Login to vote or review
Reviewed by Rizor on September 19th, 2004:Find all reviews by Rizor
I'm sure they touch on some good points, but for the most part, it's a terribly boring commentary. The second track is much more interesting as is its subject matter: the film's creation rather than its production.
Reviewed by Londo Mollari on March 2nd, 2008:Find all reviews by Londo Mollari
Baz Luhrmann is a unique character and it shows in this commentary. He's an entertaining and animated speaker who doesn't get completely caught up in the technical aspects of making the film.
Commentary 2: Writer/director Baz Luhrmann and writer Craig Pearce Rating:6.2/10 (9 votes) [graph]Login to vote or review
Reviewed by iwantmytvm on September 27th, 2020:Find all reviews by iwantmytvm
The two commentaries appear to have been spliced together for the blu-ray. Somehow, there are still some gaps of silence. And it can seem a bit disjointed, giving the impression that Baz is carrying on two side conversations.
With Martain and McApline, Luhrmann is more nuts and bolts. One of the challenges for filmmaking is that it is an industry, as well as an artform, so there is the pressure to create quality at reasonable cost and speed. They speak to filming in Madrid in addition to Sydney, costumes, make-up, insights on lighting, sets, models, and added vfx. Most interesting is how they describe the deliberate use of lighting and mirrors for certain scenes. McAlpine notes that the focus puller is very important as entire shots can be ruined if not in focus. They reveal the variety of tricks and devices used to match the height of Leguizamo with his much shorter character of Toulouse-Latrec. They confim that all of the principal actors sang their own vocals. To prevent some surfaces from being too slippery for the dancers, they mopped them with Coca-Cola twice per day.
Luhrmann and Pearce, of course, focus more on the script and storytelling, shifting from farce, comedy to elements of tragedy. They refer to the various references, ranging from Dumas novellas, to 1940s Hollywood and contempoary Bollywood musicals. They also explain how they were using pop culture, song and literary references as means of demonstrating the quality of the work by the Ewan McGregor character in the film. It was an idea of Leguizamo to use some of the T-L writings for some of his lines.