Music
Store

This also happened on Luhrmann's Romeo and Juliet soundtrack. I don't buy the CD because what's her name or what's his face is singing on it, I buy it because the music, with the original actors, moved me in the movie--so I can listen to it and feel what I felt in the movie.

Although I LOVE David Bowie, I wanted to hear John Leguizamo sing the "Nature Boy" which is very key to the whole movie. Even the "Hindi Sad Diamonds" is different from the movie. And they put an old record filter on Nicole's voice when she sings the "Sparkling Diamonds" intro which changes the mood from how it was in the movie. ! This type of "creative license" is actually detrimental to the integrity of the true cut of the film.

I feel cheated...I am not sure why they are doing this or who is making these nonsensical decisions. I even wrote to Interscope of which they never replied. Don't people listen to what the customer's want anymore? It's just like how on TV nowadays they squash the ending credits on a movie with advertising together so you can't enjoy a proper closure--what's the point because you can't even see the credits anymore? It destroys the end of the movie and no one seems to care that it feels improper anymore. I don't like being force fed, hell I've been out of diapers for many many years now. Are you listening out there you big dudes in the Business out there?

But I digress...

I loved the ending credit music from Moulin Rouge so much I was thinking of recording it on a tape snuck in the theatre but it's probably illegal or something. Grrr!


Great Film: Great Score   May 23, 2001
 47 out of 52 found this review helpful

There will always be two schools of thought concerning the film MOULIN ROUGE

There will be those who hate it and those who love it. I am in the later category.

MOULIN ROUGE is without question, a landmark achievement of a film. The first 45 minutes alone,rank as some of the most exhilarating moments ever captured on celluloid. Director,Baz Luhrmann creates a world full of color, sound and movement that effect the senses completely. It's impossible not be swept into it and impossible not to step back and note the greatness Mr.Luhrmann possesses as a director.

Luhrmann takes every old musical comedy cliché (From "Love me tonight" to "Babes in Arms" and even "Viva Las Vegas") and mixes it with operatic storylines (echoes from "Boheme" to "Traviata" abound) and injects them all with a invigorating sense of freshness. The effect is as if Mr. Luhrmann had never seen a musical comedy or opera before and had come up with all this by himself while drinking a cappuccino at Starbucks.

The inventiveness doesn't end there. Luhrmann sense of music knows no boundaries. He will take a piece of music by Offenbach and insert Nirvana's "Smells like Teen Spirit" into it. The amazing thing is it makes sense and comes off as if Mr.Offenbach and Mr.Cobain had been formally introduced.

During the "Diamonds are a girls best friend" production number, the music morphs for a few moments into Madonna's "Material Girl" thus pointing up the structural similarities between two pieces of music written 40 years apart as well as paying homage to the original performers who performed it.

It's a statement, within a statement, within a statement and that happens often in this film and that's called genius, folks.

All the actors are quite good with the two leads more than up to the task at hand.

From the moment Nicole Kidman enters the frame, one realizes one is watching an honest to goodness "movie star". The word "movie star" has both good and bad connotations and Ms. Kidman is aware of that. She delivers a performance loaded with a screwball comedy timing and offset by touching vulnerability. More importantly, she looks like she's having fun up there and her serviceably pleasant singing voice works to her advantage. This is the surest and most likable performance she's given on film to date.

The real revelation, however, is Ewan MacGregor. A performance with this much charm, energy, earnestness and naiveté would normally be considered obnoxious in any actor over the age of 11. What MacGregor does though, is imbue every moment of his performance with enough heart and sincerity to make it real. He believes totally in what he's doing thus making you believe. It is that sincerity that gives the film it's foundation to rest upon. Also, MacGregor, is one hell of a singer. His untrained but robust voice is used with a fine sense of musicality and when he volleys up to one of the many high notes in his role (up to and including a rock solid high A), the sheer sense of glee he gives off is infectious.

So, in a summer made up of what looks to be mostly mindless fare, where does Moulin Rouge fit in? Nowhere really. However, it is more than likely that Moulin Rouge will be discussed, analyzed, probed and used as inspiration long after the "Mummy returns" and "Tomb Raiders" of the world have become but a distant memory.

...and that's the important thing.


The film ROCKS!   May 24, 2001
 38 out of 44 found this review helpful

For the few disbelievers out there (aka movie critics), this film is going to be HUGE! Saw it last week at a preview in SF and the hype is all true... people clapping during sequences, standing ovations, etc. And with close to the highest per-theater box office ever in its opening bow in NYC and LA, should be massive. The tango-fied Roxanne sequence is visually and musically incredible and Ewan's first singing lines in Your Song are absolutely chilling! Get the CD, see the movie, and hope that Baz gets out there to make another film asap.


where is the REAL soundtrack?   June 25, 2001
 33 out of 36 found this review helpful

don't get me wrong, on its own this is a fine enough album. BUT, it's missing some of the best numbers in the film, and i'd much rather hear John Leguizamo sing "nature boy" (as he did in the film) instead of the faux-coolness of David Bowie. where is "like a virgin?" where is "spectacular spectacular?" and where is "zidler's rap?" i hope they release a CD that plays ALL the music & songs from the movie, in their proper order. meanwhile, this album only makes me hunger for the songs it's missing.


Lots of fun;hit and miss   May 28, 2001
 25 out of 30 found this review helpful

For those wishing to hear more top 10 hits from such bilboard faves as christina aguliera, lil' kim, mya, and pink, they will be sadly dissapointed, as it's the only radio song on here. For a fan, however, who wishes to dig deeper for the inspiration and unique styling to the soundtrack of moulin rouge, they'll have a fun little ride.

The soundtrack for Moulin Rouge is grounded in classic british pop/rock music with some eighties material mixed in, all done with broadway flare. It's like the opposite of what Baz Luhrmann did on Romeo And Juliet - taking a classic story and putting in a modern context. Here, Luhrman takes modern elements of society (specifically music, as heard here) and puts them in a surreal context of the past.

Upon first listening to some of the songs, Luhrman's work might sound outlandish and outrageous. For the most part, it works. Nicole Kidman proves she can belt out a tune with the fun take on Diamonds are a Girl's Best Friend and Material Girl on "Sparkling Diamonds," and Ewan MacGregor does a very credible rendition of Elton John's "Your Song," with a voice that sounds a bit like Elton John and a bit like Robbie Williams. "El Tango De Roxanne" might be a bit much and will incite a little laughter while hearing a gravely vocal on the Police's "Roxanne." But you can't argue that it's sung well and the music, as fantastical as it is, sounds great.

The highlight, of course, is MacGregor and Kidman's "Elephant Song Medley," where they shift from many different popular songs about love including "Pride (In The Name of Love)," "Just One Night," "All You Need is Love," and "Heroes." It's so much fun hearing them do it, that it will bring any listener a quick smile.

The album probably suffers on its pop fare. The lead single, "Lady Marmelade," is easily disposable with all its pop talent stuffed into a loud cover song which suggests little of the substance of Moulin Rouge. Bowie's rendition of Nature Boy is good, though may seem dragging by his rather unemotional tone. The Massive Attack mix found at the end adds a lot to the song. Beck's cover of Bowie's Diamond Dogs is a good credible remake, but it doesn't have the daring spirit of the original, making it much "safer" version. "Children of the Revolution" is probably one of the better songs, as Bono's soft spoken sinister vocal and high harmonies blended with the underated vocals of Gavin Friday pay good tribute to Bolan's classic.

Moulin Rouge is fantastic fun, and if you can ignore the album's forgettable moments and program your cd player right, you'll find Moulin Rouge has something for everyone.