Moulin Rouge (1952)
Directed by John Huston

Biography / Drama

Film Review

Abstract picture representing Moulin Rouge (1952)
John Huston's lavish portrayal of the life and loves of the post-impressionist painter Henri de Toulose-Lautrec falls into the pitfall of many a biopic - elaborating popular myth rather than recounting the known facts and favouring spectacle over substance.  As a celebration of the work of Lautrec, the film has much to commend it - the gaudy costumes and sets, together with the smoky colour-saturated cinematography, perfectly evoke the vibrant work of the great artist.  However, as a serious account of the life of Laurec, the film leaves a great deal to be desired.

José Ferrer was an all-too obvious casting choice for the part of Lautrec.  He had already cornered the market in playing grotesques, notably the title role in Michael Gordon's Cyrano de Bergerac (1950).  Unfortunately, in a performance that can best be described as wooden, Ferrer fails to go much beyond the stereotypical image of Lautrec and gives what is largely a slightly sick caricature, exaggerating his short stature by a good twelve inches whilst failing to convey any warmth or humanity.  Having Ferrer play both Lautrec (on his knees) and his father is an extraordinarily bad piece of casting judgement and merely shows the limits of Ferrer's range as an actor.

Ferrer is not a particularly bad actor but his failings are exacerbated by what has to be one of John Huston's worst screenplays.  The banal self-referential observations on art are irritating to anyone who knows something about the subject, but these are nowhere near as off-putting as the lack of characterisation and clumsy attempts to evoke sympathy for the protagonists.  

Although immensely popular when it was first released, presumably on account of its stunning visuals, the film now feels dated and shallow.  It was nominated for seven Oscars (including Best Picture and Best Director), but won only two - for Best Art Direction (Color) and Best Costume Design (Color).  It would be easy to dismiss the film completely were it not for its remarkable opening sequence in the Moulin Rouge, which succeeds in catapulting the audience into the superficially glitzy world which lured and fascinated Toulose-Lautrec, like a moth drawn to the flame.
© James Travers 2008
The above content is owned by filmsdefrance.com and must not be copied.
Next John Huston film:
Beat the Devil (1953)

Film Synopsis

In late 1800s, Henri Toulose-Lautrec gives up his aristocratic birthright to live a Bohemian lifestyle in the popular haunts of Paris, which include the Moulin Rouge, home of the French cancan.  Lautrec craves love but an accident in childhood has stunted his growth and now he is regarded as a figure of fun.  He takes a prostitute Marie Charlet under his wing, but she repays him with insults and abandons him.  Lautrec's mania for drink and hard work propels him ever faster towards a premature death...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: John Huston
  • Script: Pierre La Mure (novel), Anthony Veiller, John Huston
  • Cinematographer: Oswald Morris
  • Music: Georges Auric
  • Cast: José Ferrer (Henri de Toulouse-Lautrec), Colette Marchand (Marie Charlet), Zsa Zsa Gabor (Jane Avril), Suzanne Flon (Myriamme Hayam), Claude Nollier (Countess de Toulouse-Lautrec), Katherine Kath (La Goulue), Muriel Smith (Aicha), Mary Clare (Madame Louet), Walter Crisham (Valentin Dessosse), Harold Kasket (Zidler), Georges Lannes (Police Sgt. Patou), Lee Montague (Maurice Joyant), Maureen Swanson (Denise de Frontiac), Tutte Lemkow (Aicha's Partner), Jill Bennett (Sarah), Theodore Bikel (King Milo IV of Serbia), Peter Cushing (Marcel de la Voisier), Charles Carson (Mr. Paquin), Walter Cross (Babare), Hilary Allen (Cancan Dancer)
  • Country: UK
  • Language: English
  • Support: Color
  • Runtime: 119 min

Kafka's tortuous trial of love
sb-img-0
Franz Kafka's letters to his fiancée Felice Bauer not only reveal a soul in torment; they also give us a harrowing self-portrait of a man appalled by his own existence.
The very best of German cinema
sb-img-25
German cinema was at its most inspired in the 1920s, strongly influenced by the expressionist movement, but it enjoyed a renaissance in the 1970s.
The Carry On films, from the heyday of British film comedy
sb-img-17
Looking for a deeper insight into the most popular series of British film comedies? Visit our page and we'll give you one.
The very best period film dramas
sb-img-20
Is there any period of history that has not been vividly brought back to life by cinema? Historical movies offer the ultimate in escapism.
The best of Russian cinema
sb-img-24
There's far more to Russian movies than the monumental works of Sergei Eisenstein - the wondrous films of Andrei Tarkovsky for one.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright