Mise-en-Scene

 

Jade Cloud

Professor Saphire

COM 126.01

23 October 2020

 

Mise-en Scene: Moulin Rouge

            There is, perhaps, no form of escapism more effective or thrilling than the medium of film. Whether it is the sprawling plains of the wild west in the 19^th century, the whimsical realm of a made-up kingdom, or the vast and desolate stretch of outer space, filmmakers have the power to replicate or fabricate any scenario that they desire, and do so convincingly. Director Baz Luhrmann is no exception to this, as he successfully transports his audience out of the 21^st century, and into the romantic and elegant world of Paris during the Belle Epoque era, in his film Moulin Rouge. This film relies heavily on the components of mise-en-scene to elevate and enhance a relatively simple story centered around a love triangle between a writer, a beautiful courtesan, and the duke who essentially wants to buy her. While many people hold Moulin Rouge in high regard due to the unique and inventive renditions of popular songs that are sprinkled throughout the narrative, it is the way in which all of the visual elements of the film are woven together and presented, that makes it a standout.

            The entirety of Moulin Rouge is a vibrant celebration of conspicuous mise-en-scene, but for the particular scene that I have chosen to analyze, Baz Luhrmann and his creative team seem to have turned all of the dials up, amplifying all of the visual elements to the maximum. In this scene, parallel editing is used to cut between two separate events that are unfolding simultaneously. The main sequence is of the dancers of the Moulin Rouge performing a passionate tango while the other focuses on Satine, the beautiful courtesan who has agreed to spend a night with the duke who is financing their next show, in exchange for the ending that all of the dancers have worked tirelessly on, to remain the same. For roughly six minutes, the scene alternates between the dark, rich, and warm cabaret, and the cold and isolating interior of the duke’s castle. It is almost like a tug of war between two completely different stylistic choices, a constant fight for attention between the two sequences, with Christian, the writer who is deeply in love with Satine, bridging them together to form one coherent scene.

The elements of design of one sequence is in stark contrast with the second. While all of the female dancers are dressed in low-cut and revealing rehearsal attire, Satine is clad in an elegant and more dignified dress. In addition, the hairstyles and makeup on the dancers are smudged, sloppy, and falling apart, indicating a long day of rehearsals, whereas Satine’s makeup is perfectly applied, and not a single strand of hair is out of place. Besides the various elements that go into producing a desired look for all of the characters, the settings and properties also differ greatly from one sequence to the next. As was previously mentioned, the scene takes place between the cabaret and the duke’s castle, and although both settings are grand and lavish environments, the former is much more open and inviting, while the latter feels cold, cavernous, and unwelcoming. The set dressing and props that fill the duke’s dining room not only enhance the overall feeling of isolation, but also showcase his tremendous wealth, and the power he has over the dancers of the Moulin Rouge. In addition to the gaudy diamond necklace that he presents to Satine, minor pieces of set dressing such as the expensive looking silverware, sumptuous arrangements of fruit, and crystal decanters are meant to persuade her to choose him instead of Christian. Unlike the duke’s dining room, which is supplied with plenty of objects to indicate his significant wealth, the Moulin Rouge is almost void of props, as it is a space meant for dancing and entertaining. No matter how far apart in style the two sequences stray, Luhrmann’s design team adheres to a strict color code consisting of red, black, and white for all of the clothes, furniture, and drapery, to create a strong sense of unification within the scene. So much more could be said in regard to the stunning design elements of Moulin Rouge and it still wouldn’t be enough to fully describe its beauty and scale. However, the fact that it won Academy Awards for Best Costume Design and Best Art Direction speaks volumes about the brilliance and commitment of the people tasked with bringing Baz Luhrmann’s vision to life.

Although Moulin Rouge owes much of its success to the careful deliberation that was put into its design, other components of mise-en-scene, such as lighting, composition, and kinesis have also contributed greatly to its overall look. It is safe to say that this film is like a musical on steroids, a psychedelic ride of sorts, and due to the perpetual movement that musicals often employ, these remaining elements seem to have had to operate in tandem in order to carry out their functions properly. Because the figure movement never really slows down or stops, the lighting sources had to be placed carefully throughout the set to effectively illuminate the actors. The main sources of light in the cabaret come from either a spotlight on the ceiling to capture the movement of the main dancer, or bordering stage lights and sconces to illuminate the sultry, yet fast-paced choreography set on the remaining dancers. In these parts of the scene, the dancers seldom pause and as a result, the angles and directions from which the lights come from and hit them, constantly changes. In addition, the lighting ratios alternate between low-key and high-key depending on where the choreography leads the dancers and the positions it places them in.

Not only do the continuous formation changes in the choreography impact the lighting of the scene, but they also heavily distort the composition. Because several things are usually occurring at once, with dancers filling up the frame by either performing or taking part in other actions, the eyes of the viewers are forced to choose where to look rather than being guided by the camera. Perhaps the only consistent aspect of composition and really, the only consistent element of mise-en-scene throughout this scene, is the use of deep-space to emphasize the vastness of the Moulin Rouge, by placing rows of dancing couples in the foreground, middle ground, and background. While Baz Luhrmann has created compositional stress to accommodate the kinesis of the dancers, this deliberate imbalance also reveals the tension and anxiety that is the essence of the scene. Whether it is the anguish and jealousy that Christian feels knowing that the love of his life is about to sell herself, the possessive and sinister intentions of the duke, or Satine’s fear and distress because of the terrible situation that she is in, the unconventional ways in which these elements are utilized and presented match up perfectly with these heightened emotions that are integral to this part of the narrative.

            Similar to Christian, who is drawn to the beauty of Paris, the Moulin Rouge, and Satine, we, the viewers, can’t help but be mesmerized and dazzled by the aesthetically pleasing world that Baz Luhrmann created. For a film that is also centered around the Bohemian tenets --truth, beauty, freedom, and love-- every component of mise-en-scene appropriately comes together to bring those words to life, and in my opinion, to create a visual sensation.