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MOULIN ROUGE - of transition from narrative to musical...

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Corey Forrest COMM 150 9-10:50 Extra Credit Moulin Rouge After actually paying attention and watching the well-performed musical, Chicago, I somewhat got a little more interest towards the genre. One of my main reasons for watching another musical was to see if I could actually get an appreciation for them. As I started to watch the film, Moulin Rouge, the 2001 academy award winning film, which won two Oscars, I noticed many stars that I was familiar with; which was one of the main reasons it’s on America Film Institutes top 25 musical list of all time. This automatically got my attention. Once the film started, my first assumption of the specific kind of musical was shows people but as it went on, I discovered it was much more of a backstage musical. What is a backstage musical? A backstage musical exists in the tension between its narrative and its musical numbers, in which the tension is most strongly, felt during the moments
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Unformatted text preview: of transition from narrative to musical number. It is also an audition and production of a show. Moulin Rouge portrays pretty much all of that throughout the movie; this made me feel confident on choosing the type of musical. Throughout the film, I noticed that much of its numbers really did not have any realistic motivation. Its narrative pattern traces the expansion of the musical from writing the play. Looking at the types of classic musicals the elements of this applies almost perfectly. After watching this movie I decided that I thought it was a great musical. Looking back before this semester I never thought in a million years I could ever enjoy one, but actually paying attention to the different types of angles, genres, types it really brings out my attention. Although I didn’t enjoy this one as much as Chicago, it was still a great movie and the 2 nd best musical I’ve ever seen, if that’s saying anything....
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