Export your learner materials as an interactive game, a webpage, or FAQ style cheatsheet.
Unsaved Work Found!
It looks like you have unsaved work from a previous session. Would you like to restore it?
Total Categories: 6
The 1952 film *Moulin Rouge* was directed by John Huston and is classified as a historical romantic drama, based on a 1950 novel by Pierre La Mure.
Answer: True
The film *Moulin Rouge* (1952) was directed by John Huston, classified as a historical romantic drama, and based on Pierre La Mure's 1950 novel of the same name.
John Huston solely wrote the screenplay for *Moulin Rouge* (1952), without any co-writer.
Answer: False
John Huston co-wrote the screenplay for *Moulin Rouge* (1952) with Anthony Veiller, indicating he was not the sole writer.
The producers of *Moulin Rouge* (1952), John and James Woolf, had previously collaborated with John Huston on *The African Queen*.
Answer: True
John and James Woolf, the producers of *Moulin Rouge* (1952), had a prior collaboration with director John Huston on the film *The African Queen*.
The primary filming locations for *Moulin Rouge* (1952) were exclusively in Paris, France.
Answer: False
The primary filming locations for *Moulin Rouge* (1952) included Shepperton Studios in England, as well as on-location shooting in London and Paris, indicating it was not exclusively filmed in Paris.
United Artists was the sole distributor for *Moulin Rouge* (1952) from the film's inception to its release.
Answer: False
United Artists was initially slated to distribute *Moulin Rouge* (1952) but withdrew, leading to a complex distribution history involving Moulin Productions and Allied Artists before United Artists eventually re-engaged under new management.
Who co-wrote the screenplay for the 1952 film *Moulin Rouge* with director John Huston?
Answer: Anthony Veiller
Anthony Veiller co-wrote the screenplay for *Moulin Rouge* (1952) with director John Huston.
What literary work served as the basis for the 1952 film *Moulin Rouge*?
Answer: The 1950 novel *Moulin Rouge* by Pierre La Mure
The 1952 film *Moulin Rouge* was adapted from Pierre La Mure's 1950 novel of the same title.
Which of the following was NOT a primary filming location for *Moulin Rouge* (1952)?
Answer: Rome
The primary filming locations for *Moulin Rouge* (1952) were Shepperton Studios in England, London, and Paris. Rome is not mentioned as a filming location.
What was the initial distribution plan for *Moulin Rouge* (1952) before it changed?
Answer: United Artists was initially intended to distribute and cover star/director/script fees.
The initial distribution plan for *Moulin Rouge* (1952) involved United Artists, who were to cover the costs for the stars, director, and script.
Henri de Toulouse-Lautrec, the central artist in *Moulin Rouge* (1952), was depicted as being 5-foot-6-inches tall due to a childhood injury.
Answer: False
The film depicts Henri de Toulouse-Lautrec as 4-foot-6-inches tall, with his disability attributed to a childhood fall and an underlying genetic disorder from his parents being first cousins.
José Ferrer played the dual roles of Henri de Toulouse-Lautrec and his father, Comte Alphonse de Toulouse-Lautrec.
Answer: True
José Ferrer indeed performed the dual roles of Henri de Toulouse-Lautrec and his father, Comte Alphonse de Toulouse-Lautrec, in the film.
Henri de Toulouse-Lautrec's disability was solely caused by a childhood fall, with no underlying genetic factors.
Answer: False
Henri de Toulouse-Lautrec's disability was caused by a childhood fall, but it was further complicated by a genetic disorder resulting from his parents being first cousins.
Henri de Toulouse-Lautrec first met Marie Charlet when she was modeling for one of his portraits at the Moulin Rouge.
Answer: False
Henri de Toulouse-Lautrec first met Marie Charlet when he helped her evade the police on his journey home, not while she was modeling at the Moulin Rouge.
Henri threw Marie Charlet out of his home after she confessed she only stayed with him for money, leading him to sink into alcoholism.
Answer: True
Henri expelled Marie Charlet from his residence after she insulted his portrait of her. Her subsequent admission that she remained with him solely for financial gain contributed to his descent into alcoholism.
Henri's father strongly supported his son's artistic endeavors, especially his risqué portraits of Parisian nightlife.
Answer: False
Henri's father explicitly denounced his son's artistic work, particularly the risqué portraits, demonstrating a lack of support for his artistic endeavors and lifestyle.
Myriamme Hyam revealed to Henri that she had purchased his portrait of Marie Charlet at an art gallery.
Answer: False
Myriamme Hyam informed Henri that she acquired his portrait of Marie Charlet at a flea market, not an art gallery.
Henri de Toulouse-Lautrec's cynicism about love led him to lie to Myriamme Hyam, telling her he didn't love her, which ended their potential relationship.
Answer: True
Driven by his cynicism regarding romantic relationships, Henri de Toulouse-Lautrec falsely claimed to Myriamme Hyam that he did not love her, thereby terminating their nascent relationship.
In his final moments, Henri de Toulouse-Lautrec envisioned his family members gathered around his deathbed, offering comfort.
Answer: False
During his final moments, Henri de Toulouse-Lautrec experienced a vision of figures from his Moulin Rouge paintings dancing around his room, rather than his family members.
José Ferrer achieved Henri de Toulouse-Lautrec's short stature on screen by primarily using digital effects and green screen technology.
Answer: False
José Ferrer achieved Henri de Toulouse-Lautrec's short stature through practical effects such as platforms, concealed pits, specific camera angles, makeup, costumes, body doubles, and walking on knee pads, rather than digital effects or green screen technology.
The film's opening scene in 1890 Paris shows Henri de Toulouse-Lautrec sketching dancers at the Moulin Rouge while drinking cognac.
Answer: True
The opening scene of *Moulin Rouge* (1952) accurately depicts Henri de Toulouse-Lautrec sketching dancers at the Moulin Rouge in 1890 Paris, while consuming cognac.
Maurice Joyant, the owner of the Moulin Rouge, offered Henri de Toulouse-Lautrec free drinks in exchange for creating a promotional poster.
Answer: True
Maurice Joyant, the proprietor of the Moulin Rouge, did indeed offer Henri de Toulouse-Lautrec complimentary beverages in return for designing a promotional poster for the establishment.
Henri de Toulouse-Lautrec's mother, Countess Adele, urged him to find Myriamme Hyam to lift his spirits during a period of depression.
Answer: False
Henri de Toulouse-Lautrec's mother, Countess Adele, encouraged him to seek out Marie Charlet to alleviate his depression, not Myriamme Hyam.
Myriamme Hyam was working as a cabaret singer when Henri encountered her again after their first meeting.
Answer: False
Upon their second encounter, Myriamme Hyam was working as a gown model, not a cabaret singer.
Towards the end of his life, Henri de Toulouse-Lautrec suffered from delirium tremens due to his severe alcoholism.
Answer: True
Henri de Toulouse-Lautrec's severe alcoholism indeed led to him suffering from delirium tremens in his final years.
On his deathbed, Henri's father informed him that his work would be exhibited in the Louvre, making him the first living artist to receive such an honor.
Answer: True
Henri's father conveyed the news on his deathbed that Henri's art would be displayed in the Louvre, a singular honor for a living artist.
What was Henri de Toulouse-Lautrec's depicted height in the film, and what was a contributing factor to his disability?
Answer: 4-foot-6-inches, due to a genetic disorder from his parents being first cousins
In the film, Henri de Toulouse-Lautrec was depicted as 4-foot-6-inches tall, and his disability was a result of a childhood fall combined with a genetic disorder from his parents being first cousins.
How did Henri de Toulouse-Lautrec first encounter Marie Charlet in the film?
Answer: He helped her escape the police on his way home.
Henri de Toulouse-Lautrec first met Marie Charlet when he assisted her in evading the police on his journey home.
What was Henri's father's reaction to his son's risqué portraits of Parisian nightlife?
Answer: He denounced Henri's work and lifestyle.
Henri's father denounced his son's risqué portraits and lifestyle, expressing strong disapproval.
Who played the dual roles of Henri de Toulouse-Lautrec and his father in *Moulin Rouge* (1952)?
Answer: José Ferrer
José Ferrer undertook the dual roles of Henri de Toulouse-Lautrec and his father in *Moulin Rouge* (1952).
What significant detail did Myriamme Hyam reveal to Henri about his past work?
Answer: She had bought his portrait of Marie Charlet at a flea market.
Myriamme Hyam disclosed to Henri that she had purchased his portrait of Marie Charlet at a flea market.
What ultimately caused the breakdown of Henri's potential relationship with Myriamme Hyam?
Answer: Henri's cynicism about love leading him to lie about his feelings.
Henri's inherent cynicism about love led him to falsely declare his lack of affection for Myriamme Hyam, believing she was manipulating him, which consequently ended their burgeoning relationship.
In the film's opening scene, set in 1890 Paris, what is Henri de Toulouse-Lautrec doing at the Moulin Rouge?
Answer: He is sketching dancers and finishing a bottle of cognac.
In the opening scene of *Moulin Rouge* (1952), Henri de Toulouse-Lautrec is depicted sketching dancers and consuming cognac at the Moulin Rouge in 1890 Paris.
Who was Maurice Joyant in the film, and what did he offer Henri de Toulouse-Lautrec?
Answer: He was the owner of the Moulin Rouge, offering free drinks for a promotional poster.
Maurice Joyant was the owner of the Moulin Rouge, and he offered Henri de Toulouse-Lautrec complimentary drinks in exchange for designing a promotional poster for the establishment.
What was the name of Henri de Toulouse-Lautrec's mother as depicted in the film?
Answer: Countess Adele
Henri de Toulouse-Lautrec's mother in the film is identified as Countess Adele.
What was Myriamme Hyam's profession when Henri encountered her again after their first meeting on the bridge?
Answer: She was modeling gowns.
When Henri de Toulouse-Lautrec encountered Myriamme Hyam again, she was working as a gown model.
What severe condition did Henri de Toulouse-Lautrec suffer from towards the end of his life due to alcoholism?
Answer: Delirium tremens
Due to his severe alcoholism, Henri de Toulouse-Lautrec suffered from delirium tremens in his final years.
What significant news did Henri's father deliver to him on his deathbed?
Answer: That he would be the first living artist to have his work exhibited in the Louvre.
On Henri's deathbed, his father conveyed the momentous news that Henri would be the first living artist to have his work exhibited in the Louvre.
Director John Huston instructed cinematographer Oswald Morris to create a color scheme for *Moulin Rouge* (1952) that mimicked Toulouse-Lautrec's artistic style.
Answer: True
John Huston specifically directed cinematographer Oswald Morris to design the film's color scheme to emulate the artistic style of Toulouse-Lautrec, aiming for a visual consistency with the artist's work.
*Moulin Rouge* (1952) was shot in three-strip Technicolor, and Huston requested a typically gaudy palette from Technicolor to match the Moulin Rouge's vibrant atmosphere.
Answer: False
While *Moulin Rouge* (1952) was indeed shot in three-strip Technicolor, director John Huston specifically requested a subdued color palette, a departure from Technicolor's characteristic vibrant and 'gaudy' aesthetic.
What specific instruction did John Huston give cinematographer Oswald Morris regarding the film's color scheme?
Answer: To make it look 'as if Toulouse-Lautrec had directed it.'
John Huston directed cinematographer Oswald Morris to design the film's color scheme to appear 'as if Toulouse-Lautrec had directed it,' aiming to capture the artist's distinctive visual style.
What was unique about the application of three-strip Technicolor in *Moulin Rouge* (1952)?
Answer: Huston requested a subdued palette, departing from Technicolor's usual gaudy colors.
The unique aspect of *Moulin Rouge*'s three-strip Technicolor application was John Huston's request for a subdued color palette, which diverged from Technicolor's standard vibrant and often 'gaudy' aesthetic.
John Huston believed the film *Moulin Rouge* (1952) perfectly captured the 'clinically detached' nature of Toulouse-Lautrec's artistic perspective.
Answer: False
John Huston expressed that the film had a 'sentimental turn' that would have likely offended Toulouse-Lautrec's 'clinically detached' artistic perspective, suggesting it did not perfectly capture that aspect.
*The Monthly Film Bulletin* praised *Moulin Rouge* (1952) for its engaging dialogue and fast pace, despite criticizing its visual effects.
Answer: False
*The Monthly Film Bulletin* criticized *Moulin Rouge* (1952) for its dialogue and pace, describing it as 'two hours of innate boredom,' while praising its visual elements like color effects, sets, costumes, and photography.
*Moulin Rouge* (1952) earned more at the UK box office than in North America during its first year of release.
Answer: False
During its initial year of release, *Moulin Rouge* (1952) grossed $9 million in North America, significantly more than its £205,453 earnings in UK cinemas.
The National Film Finance Corporation reported that *Moulin Rouge* (1952) failed to make a profit.
Answer: False
Contrary to the statement, the National Film Finance Corporation reported that *Moulin Rouge* (1952) achieved a comfortable profit.
José Ferrer's remuneration for *Moulin Rouge* (1952), which included 40% of the film's proceeds, led to a significant U.S. tax case.
Answer: True
José Ferrer's compensation, which comprised 40% of *Moulin Rouge*'s proceeds, indeed resulted in a notable U.S. tax case, *Commissioner v. Ferrer*, in 1962.
Leonard Maltin advised viewers to skip *Moulin Rouge* (1952) if it couldn't be seen in its original black and white format.
Answer: False
Leonard Maltin's advice was to skip *Moulin Rouge* (1952) if it could not be viewed in color, highlighting the significance of its unique color cinematography, not a black and white format.
What was John Huston's personal reflection on the film's portrayal of Toulouse-Lautrec?
Answer: He felt they 'weren't able to do the artist justice' due to a 'sentimental turn'.
John Huston expressed that while the film was 'physically... very beautiful,' it ultimately failed to 'do the artist justice' due to a 'sentimental turn' that would have displeased the 'clinically detached' Toulouse-Lautrec.
How did *The Monthly Film Bulletin* critically assess the dialogue and pace of *Moulin Rouge* (1952)?
Answer: It criticized the dialogue and pace, calling it 'two hours of innate boredom'.
*The Monthly Film Bulletin* criticized the dialogue and pace of *Moulin Rouge* (1952), deeming it 'two hours of innate boredom,' despite acknowledging the film's superior visual elements.
What was the financial outcome of *Moulin Rouge* (1952) according to the National Film Finance Corporation?
Answer: It made a comfortable profit.
The National Film Finance Corporation reported that *Moulin Rouge* (1952) generated a comfortable profit.
Which notable legal case arose from José Ferrer's remuneration for his role in *Moulin Rouge* (1952)?
Answer: Commissioner v. Ferrer
José Ferrer's compensation structure for *Moulin Rouge* (1952) resulted in the significant U.S. tax case known as *Commissioner v. Ferrer*.
*Moulin Rouge* (1952) won the Golden Lion award at the 14th Venice International Film Festival, recognizing it as the best film.
Answer: False
At the 14th Venice International Film Festival, *Moulin Rouge* (1952) was awarded the Silver Lion, not the Golden Lion.
*Moulin Rouge* (1952) won Academy Awards for Best Art Direction – Color and Best Costume Design – Color.
Answer: True
*Moulin Rouge* (1952) was honored with Academy Awards for both Best Art Direction – Color and Best Costume Design – Color.
John Huston was nominated for an Academy Award for Best Screenplay for *Moulin Rouge* (1952).
Answer: False
John Huston received Academy Award nominations for Best Motion Picture and Best Director for *Moulin Rouge* (1952), but not for Best Screenplay.
Colette Marchand won the Golden Globe Award for Most Promising Newcomer – Female for her role as Marie Charlet.
Answer: True
Colette Marchand, portraying Marie Charlet, was indeed awarded the Golden Globe for Most Promising Newcomer – Female for her performance in *Moulin Rouge* (1952).
Oswald Morris received an Academy Award for Best Cinematography for his work on *Moulin Rouge* (1952).
Answer: False
Oswald Morris was recognized with the British Society of Cinematographers Award for Best Cinematography for *Moulin Rouge* (1952), but not an Academy Award in that category.
Bob Fosse, director of *Cabaret*, acknowledged John Huston's filming of the can-can in *Moulin Rouge* as a significant influence on his own style.
Answer: True
Bob Fosse, the renowned director of *Cabaret*, indeed recognized John Huston's depiction of the can-can in *Moulin Rouge* as a major influence on his distinctive cinematic style.
The *Moulin Rouge* theme song failed to gain popularity or chart after the film's release.
Answer: False
The *Moulin Rouge* theme song achieved considerable popularity and successfully charted in the record industry following the film's release.
*Moulin Rouge* (1952) was ultimately included on the American Film Institute's list of 100 Greatest Film Scores.
Answer: False
*Moulin Rouge* (1952) was nominated for the American Film Institute's list of 100 Greatest Film Scores but was not ultimately selected for inclusion.
The digital restoration of *Moulin Rouge* (1952) for its Blu-ray debut involved FotoKem and Prasad Corporation, with frame-by-frame removal of imperfections.
Answer: True
The digital restoration of *Moulin Rouge* (1952) for its Blu-ray release was indeed a collaborative effort between FotoKem and Prasad Corporation, involving meticulous frame-by-frame removal of various imperfections.
A restored version of *Moulin Rouge* (1952) was showcased at the 2019 Cannes Film Festival in the Cannes Classics section.
Answer: True
A digitally restored version of *Moulin Rouge* (1952) was indeed featured in the Cannes Classics section of the 2019 Cannes Film Festival.
Which award did *Moulin Rouge* (1952) win at the 14th Venice International Film Festival?
Answer: The Silver Lion
*Moulin Rouge* (1952) was awarded the Silver Lion at the 14th Venice International Film Festival.
Which two Academy Awards did *Moulin Rouge* (1952) win?
Answer: Best Art Direction – Color and Best Costume Design – Color
*Moulin Rouge* (1952) received Academy Awards for Best Art Direction – Color and Best Costume Design – Color.
For which Academy Awards was John Huston nominated for *Moulin Rouge* (1952)?
Answer: Best Motion Picture and Best Director
John Huston was nominated for Academy Awards in the categories of Best Motion Picture and Best Director for his work on *Moulin Rouge* (1952).
Who won the Golden Globe Award for Most Promising Newcomer – Female for her role in *Moulin Rouge* (1952)?
Answer: Colette Marchand
Colette Marchand, for her portrayal of Marie Charlet, received the Golden Globe Award for Most Promising Newcomer – Female for *Moulin Rouge* (1952).
What recognition did Oswald Morris receive for his cinematography in *Moulin Rouge* (1952)?
Answer: The British Society of Cinematographers Award for Best Cinematography
Oswald Morris was honored with the British Society of Cinematographers Award for Best Cinematography in a Theatrical Feature Film for his contributions to *Moulin Rouge* (1952).
Why was *Moulin Rouge* (1952) not nominated for an Academy Award for its color cinematography, despite critical acclaim?
Answer: The source material does not specify the reason for the omission.
Despite critical acclaim for its color cinematography, the source material does not specify the reason why *Moulin Rouge* (1952) did not receive an Academy Award nomination in that category.
Which acclaimed director cited John Huston's filming of the can-can in *Moulin Rouge* as influential on his own style?
Answer: Bob Fosse
Bob Fosse, the celebrated director of *Cabaret*, acknowledged John Huston's cinematic treatment of the can-can in *Moulin Rouge* as a significant influence on his directorial approach.
What happened to the *Moulin Rouge* theme song after the film's release?
Answer: It became well known and successfully made it onto the record industry charts.
Following the film's release, the *Moulin Rouge* theme song gained widespread recognition and successfully appeared on record industry charts.
Was *Moulin Rouge* (1952) included in the American Film Institute's list of 100 Greatest Film Scores?
Answer: No, it was nominated but not included on the final list.
*Moulin Rouge* (1952) was nominated for the American Film Institute's list of 100 Greatest Film Scores but was not ultimately selected for inclusion.
Which companies were responsible for the digital restoration of *Moulin Rouge* (1952) for its Blu-ray debut?
Answer: FotoKem and Prasad Corporation
FotoKem and Prasad Corporation were the companies responsible for the digital restoration of *Moulin Rouge* (1952) for its Blu-ray release.
When and where was a restored version of *Moulin Rouge* (1952) showcased?
Answer: At the 2019 Cannes Film Festival in the Cannes Classics section
A restored version of *Moulin Rouge* (1952) was presented in the Cannes Classics section at the 2019 Cannes Film Festival in April 2019.
Zsa Zsa Gabor played the role of Marie Charlet in *Moulin Rouge* (1952).
Answer: False
Colette Marchand portrayed Marie Charlet in *Moulin Rouge* (1952), while Zsa Zsa Gabor played the role of Jane Avril.
Katherine Kath played the role of Jane Avril in *Moulin Rouge* (1952).
Answer: False
Katherine Kath portrayed La Goulue in *Moulin Rouge* (1952), while Zsa Zsa Gabor played the role of Jane Avril.
Muriel Smith was the uncredited ghost singer for Colette Marchand's character, Marie Charlet, in *Moulin Rouge* (1952).
Answer: False
Muriel Smith served as the uncredited ghost singer for Zsa Zsa Gabor's character, Jane Avril, in *Moulin Rouge* (1952), not for Colette Marchand's Marie Charlet.
Who portrayed Marie Charlet in the film *Moulin Rouge* (1952)?
Answer: Colette Marchand
Colette Marchand took on the role of Marie Charlet in the 1952 film *Moulin Rouge*.
Who played the role of La Goulue in *Moulin Rouge* (1952)?
Answer: Katherine Kath
Katherine Kath portrayed the character of La Goulue in *Moulin Rouge* (1952).
Who was the uncredited ghost singer for Zsa Zsa Gabor in *Moulin Rouge* (1952)?
Answer: Muriel Smith
Muriel Smith was the uncredited ghost singer who provided the singing voice for Zsa Zsa Gabor's character, Jane Avril, in *Moulin Rouge* (1952).