Can-Can & Canvas
An academic exploration of John Huston's 1952 cinematic portrayal of Henri de Toulouse-Lautrec's bohemian Paris.
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Film Overview
A Historical Romantic Drama
John Huston's 1952 British film, Moulin Rouge, is a historical romantic drama that delves into the vibrant yet often melancholic life of the renowned 19th-century Parisian artist, Henri de Toulouse-Lautrec. Co-written by Huston and Anthony Veiller, the screenplay draws its narrative from Pierre La Mure's 1950 novel of the same name. The film immerses its audience in the bohemian subculture of Paris, particularly focusing on the iconic burlesque venue, the Moulin Rouge, a central motif in Lautrec's artistic oeuvre.
Star-Studded Ensemble
The film features a distinguished cast, with Josรฉ Ferrer taking on the challenging dual role of Henri de Toulouse-Lautrec and his aristocratic father, Comte Alphonse de Toulouse-Lautrec. Ferrer's portrayal of the artist, marked by his distinctive physical challenges, was a critical highlight. He is joined by Zsa Zsa Gabor as the dancer Jane Avril, Suzanne Flon as Myriamme Hyam, and Colette Marchand as Marie Charlet. The ensemble also includes notable actors such as Christopher Lee and Peter Cushing in early career roles, adding depth to the vibrant Parisian backdrop.
Early Acclaim
Upon its release, Moulin Rouge garnered significant attention, notably being screened at the 14th Venice International Film Festival where it was awarded the Silver Lion. This early recognition underscored the film's artistic merit and its director's vision. The film's critical and commercial success would later translate into multiple Academy Award nominations and wins, solidifying its place as a significant cinematic achievement of its era.
Narrative Arc
The Artist's Solitude
The narrative commences in 1890s Paris, where Henri de Toulouse-Lautrec, a prodigious artist, is depicted sketching dancers at the Moulin Rouge, finding solace in cognac. His diminutive stature, a consequence of a childhood injury and a genetic disorder stemming from his parents being first cousins, isolates him from conventional society. Despite his artistic success, Henri grapples with profound loneliness, often seeking companionship among the marginalized figures of Parisian nightlife, whom he immortalizes in his art.
Fleeting Connections
Henri's life takes a turn when he encounters Marie Charlet, a streetwalker, whom he invites to stay with him. Initially drawn to her unvarnished perspective on life, Henri soon discovers her pragmatic motives, leading to a painful rejection that plunges him into deeper despair and alcoholism. This emotional crisis, however, paradoxically fuels his artistic breakthrough, culminating in the completion of a promotional poster for the Moulin Rouge, a work that propels him to greater fame.
Love and Loss
Later, Henri meets Myriamme Hyam, an independent young woman who appreciates his art. A fragile romance blossoms, but Henri's deep-seated cynicism about love, born from past hurts and insecurities about his disability, leads him to falsely deny his feelings for Myriamme. This tragic misunderstanding results in Myriamme's departure, leaving Henri consumed by regret and a deepening spiral into alcoholism. The film poignantly captures the artist's inability to reconcile his emotional vulnerability with his public persona.
A Visionary End
The film culminates in Henri's tragic decline. Found in a dive bar, he suffers from delirium tremens, hallucinating insects before a fatal fall down a staircase. On his deathbed at his family's chateau, his estranged father seeks forgiveness, revealing that Henri's work is to be exhibited in the Louvre, a testament to his artistic genius. In his final moments, Henri experiences a transcendent vision of the vibrant figures from his Moulin Rouge paintings dancing around his room, a poignant fusion of his life, art, and the world he so keenly observed.
Key Performers
Josรฉ Ferrer: Henri de Toulouse-Lautrec
Ferrer's dual portrayal of Henri de Toulouse-Lautrec and his father, Comte Alphonse de Toulouse-Lautrec, is central to the film's dramatic core. His commitment to embodying the artist's physical challenges, including walking on his knees with specially designed pads, garnered significant critical acclaim. This dedication allowed for a nuanced exploration of Lautrec's internal and external struggles.
Colette Marchand: Marie Charlet
Colette Marchand's performance as Marie Charlet, the streetwalker who briefly enters Henri's life, was particularly noted. Her portrayal captured the raw, unvarnished reality of Parisian lower-class life, providing a stark contrast to Henri's artistic sensibilities and contributing to the film's emotional depth. Marchand's performance earned her a Golden Globe for Most Promising Newcomer.
Zsa Zsa Gabor: Jane Avril
Zsa Zsa Gabor takes on the role of Jane Avril, the celebrated can-can dancer and a frequent subject of Toulouse-Lautrec's art. While her performance received mixed reviews, particularly regarding her accent, her presence added to the film's depiction of the Moulin Rouge's glamorous and often tumultuous world. Muriel Smith provided the uncredited ghost singing for Gabor's character.
Supporting Ensemble
The film features a rich supporting cast that brings 19th-century Paris to life:
Production Insights
Financing and Development
The film's journey to the screen began with producers John and James Woolf, who, having collaborated with John Huston on The African Queen, sought another project with the acclaimed director. Pierre La Mure's novel Moulin Rouge captured their interest, and Josรฉ Ferrer's enthusiasm for the lead role solidified the project. Initial distribution challenges with United Artists eventually resolved, leading to a final budget of ยฃ434,264 plus $160,000 for key talent fees. Huston notably claimed that producing the film outside Hollywood significantly reduced costs, estimating it would have been at least $3 million in the US.
Visualizing Lautrec's World
A defining aspect of Moulin Rouge was its distinctive visual style. Director John Huston instructed cinematographer Oswald Morris to evoke the aesthetic of Toulouse-Lautrec's own paintings. This was achieved through the use of three-strip Technicolor, but with a deliberate choice for a subdued palette, a departure from the "glorious Technicolor" often associated with the process. This artistic decision aimed to mirror the nuanced and often melancholic tones characteristic of Lautrec's work, creating a visually immersive experience that resonated with the film's subject matter.
Ferrer's Transformation
Josรฉ Ferrer's portrayal of Henri de Toulouse-Lautrec presented significant physical challenges. To accurately depict Lautrec's 4-foot-6-inch stature, a combination of innovative techniques was employed. These included the use of platforms, concealed pits, strategic camera angles, intricate makeup, and period costumes. Crucially, Ferrer utilized specially designed knee pads, allowing him to walk on his knees and convincingly simulate the artist's unique gait. This dedication to physical authenticity was widely praised, highlighting Ferrer's commitment to the role.
Director's Reflections
John Huston later reflected on the film, acknowledging its physical beauty and excellent movement, particularly in recreating Lautrec's world. However, he also noted a "sentimental turn" in the film's narrative that he felt might have "offended the painter himself, who was clinically detached." Josรฉ Ferrer, in contrast, defended the film's directness, stating that it "didnโt avoid or sidestep anything" regarding Lautrec's life, including his relationships with prostitutes and his alcoholism, and that Huston was proud of the ending. The production also faced numerous lawsuits, a common occurrence in the film industry.
Critical & Commercial Reception
Critical Discourse
Critical reception for Moulin Rouge was varied. The Monthly Film Bulletin described it as a "long and pretentious film," criticizing its "deadly even pace and unrelenting detachment" and a "babel of foreign accents," particularly noting Zsa Zsa Gabor's "high-pitched Viennese exclamations." However, the review also acknowledged the film's strengths, praising its "striking effects of colour" and the high quality of its "sets, costumes and photography," which achieved a "fine visual approximation of Lautrec's Paris." Variety, on the other hand, offered a more positive assessment, calling it "standout all the way" with "sturdy" box office potential in key cities.
Box Office Performance
Commercially, Moulin Rouge proved to be a success. During its initial year of release, the film earned ยฃ205,453 in UK cinemas. In North America, it grossed an impressive $9 million. The National Film Finance Corporation reported that the film generated a "comfortable profit." Director John Huston himself stated that he earned more money from Moulin Rouge than any other film he had directed, attributing this to the producers' "unscrupulously honest" approach in delivering his dues.
Legal and Financial Aftermath
The film's financial success also led to a notable legal case. Josรฉ Ferrer, who received 40% of the film's proceeds and other rights, became the subject of a prominent U.S. Second Circuit tax case, Commissioner v. Ferrer (1962), where he contested the amount of tax levied on his earnings. This case highlights the significant financial stakes involved in major film productions and the complex remuneration structures for leading talent.
Distinctions & Honors
Academy Awards
Moulin Rouge received seven nominations at the 25th Academy Awards, securing two wins:
International Recognition
Beyond the Academy Awards, the film garnered significant international acclaim, reflecting its global impact and artistic merit:
Enduring Influence
Despite some initial critical reservations, Moulin Rouge left a lasting mark on cinematic history. Its innovative use of color cinematography, which many critics found remarkable, was a significant achievement. Leonard Maltin famously advised viewers to "If you can't catch this in color, skip it," underscoring the visual importance. Director Bob Fosse acknowledged Huston's filming of the can-can in Moulin Rouge as a major influence on his own film style, particularly evident in his work on Cabaret. The film's theme song also achieved widespread popularity, charting in the record industry. It was even nominated for inclusion on the American Film Institute's list of 100 Greatest Film Scores.
Digital Restoration
Preserving Cinematic Heritage
In an effort to preserve its artistic integrity and make it accessible to modern audiences, Moulin Rouge underwent a comprehensive digital restoration. This meticulous process was carried out by FotoKem, with frame-by-frame digital restoration performed by Prasad Corporation. Their work involved the painstaking removal of dirt, tears, scratches, and various other defects that had accumulated over decades, ensuring the film's visual quality was revitalized for contemporary viewing formats like Blu-ray.
Cannes Classics Showcase
The significance of this restoration was highlighted in April 2019 when a newly restored version of the film was selected for screening in the prestigious Cannes Classics section at the 2019 Cannes Film Festival. This presentation was a collaborative effort involving The Film Foundation, Park Circus, Romulus Films, and Metro-Goldwyn-Mayer (MGM), underscoring the film's enduring cultural and historical importance. Its inclusion at Cannes reaffirmed its status as a cinematic masterpiece worthy of preservation and renewed appreciation.
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References
References
- https://richmond.com/muriel-burrell-smith/article_a44a4fb0-6b03-11e2-ba6d-001a4bcf6878.html
- Chapman, J. (2022). The Money Behind the Screen: A History of British Film Finance, 1945-1985. Edinburgh University Press p 358
- Tom Vallance, "Obituary: Sir John Woolf", The Independent, 1 July 1999
- Vincent Porter, 'The Robert Clark Account', Historical Journal of Film, Radio and Television, Vol 20 No 4, 2000 p.499
- U.S. MONEY BEHIND 30% OF BRITISH FILMS: Problems for the Board of Trade The Manchester Guardian (1901-1959) [Manchester (UK)] 4 May 1956: 7
- See 304 F. 2d 125 - Commissioner of Internal Revenue v. Ferrer, OpenJurist
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