Moulin Rouge: spectacle and substance at Film Group

At our most recent Film Club, we were treated to Baz Lurhmann’s 2001 musical romantic drama Moulin Rouge!.

The discussion was introduced with great passion and insight by Bill Martin. Indeed, his introduction was so rich and thought-provoking that I won’t even attempt to summarise it—instead, his notes are here for those who would like to explore his ideas in full.

What followed was a lively and wide-ranging discussion, reflecting just how much this dazzling and divisive film has to offer.

Set in the bohemian underworld of turn-of-the-century Paris, Moulin Rouge! follows Christian, a young writer who falls deeply in love with Satine, the star courtesan of the Moulin Rouge nightclub. Their romance unfolds against a backdrop of theatrical spectacle and artistic idealism—truth, beauty, freedom, and love—but is threatened by Satine’s obligation to a wealthy Duke who seeks to possess her. As the lovers attempt to defy their circumstances, the story builds toward a tragic but deeply emotional conclusion, blending romance, music and theatrical fantasy.

A central thread of the discussion was how the film balances spectacle with emotional depth. While some critics dismissed it as style over substance, many in the group agreed with Bill that its visual extravagance serves a deeper purpose. Luhrmann’s use of bold colour, movement and symbolism—particularly the recurring reds and shimmering silvers—was seen as integral to expressing the intensity and illusion of love.

Bill’s observations about the film’s symbolic language sparked particular interest. The circular movements of the lovers, the protective quality of the silver backdrop and the recurring motif of “three” were all discussed as visual representations of unity and transcendence. The idea that the film operates within a fantasy world—where even the moon can sing—helped frame its heightened, theatrical style.

The “play within a play” structure drew comparisons to Shakespeare, with members also noting how the audience within the film mirrors us as viewers, reacting to what they expect to be light entertainment but instead witnessing profound human drama.

The group explored the film’s contrasting portrayals of love. Christian begins as an idealist, believing in pure, transcendent love, but is forced to confront jealousy, guilt and loss. Satine’s journey—from a “material girl” seeking security to someone willing to sacrifice everything for love—is one of the film’s most moving elements, particularly given her ultimate fate. In contrast, the Duke’s version of love is possessive and transactional—rooted in control rather than freedom. This tension between love as liberation and love as ownership is one of the key philosophical takeaways of the film.

The soundtrack prompted enthusiastic discussion. Rather than traditional musical numbers, the film stitches together fragments of well-known pop songs, transforming them into something new. The songs function almost as dialogue, advancing the plot and deepening emotional expression. There is only one original song in the soundtrack, "Come What May", which, interestingly, was originally intended for Lurhmann's Romeo + Juliet.

The word of the evening became “intertextuality” (which caused much hilarity). There are a multitude of layers within the film, from operatic influences like La Traviata and Shakespeare’s Twelfth Night to cinematic references such as Georges Méliès and the famous “singing moon”.

Not everyone was swept away. Some found the film overwhelming—its frenetic pace, rapid editing and intense colour palette making it difficult to follow. Others struggled to connect with the story beneath the spectacle, though some said they might appreciate it more on a rewatch, especially after hearing the discussion.

There was also thoughtful debate around elements such as the film’s appropriation of different cultural styles, such as the Bollywood-style finale.

The performances sparked mixed responses. Some praised Nicole Kidman and Ewan McGregor for performing their own vocals, but others found McGregor’s performance less engaging. However, Jim Broadbent’s atypically flamboyant turn as Zidler was deemed a highlight by all.

The film’s darker turn in its later stages—particularly scenes of jealousy and violence—added emotional weight, culminating in a tragic ending that, despite being anticipated, still left many deeply moved.

Whether loved or resisted, Moulin Rouge! certainly provoked a strong response. For some, its richness lies in repeated viewings, revealing deeper layers beneath the surface spectacle. For others, it remains an acquired taste.

But as Bill hinted in his introduction—and as our discussion confirmed—the film’s enduring appeal may lie in its belief in the transformative power of love: messy, painful, transcendent, and, ultimately, unforgettable.

For those interested, "Moulin Rouge!" is being screened at the Picturehouse on Sunday, 19th April to mark its 25th anniversary—a perfect opportunity to revisit it with fresh eyes.