( continues...) appreciated closure at the end.

All in all, Moulin Rouge grabs you and hits you with the sheer power of itself. When the movie ended, the audience was completely silent. I couldn't really speak. I felt like I felt at the end of Requiem for a Dream, except less like I was about to die and more like I had just been handed a transcendent feeling to simply experience, enjoy, and learn from. It is the best new movie I've seen since Memento, and as this looks like a slow year for great movies, look for it come Oscar time. Go see it. Now.

old and hackneyed plots never die.

Oh, yeah. The reformed hooker who's now too good to heartlessly shag just one more time, even to save her true love? I can't get past that enough to like the movie.

Hmm. I understand everything you guys are saying about Moulin Rouge having a silly, hackneyed plot, drawn directly from things such as La Boheme (I certainly don't think it's an accident that Luhrmann directed that opera on Broadway, nor do I think that the popularity of Rent can be ignored as backdrop for the film), but I think that's completely intentional. I mean, I knew Satine was going to die from the moment Ewan looked at her because I've seen enough Puccini operas to know that in this kind of setting the beautiful heroine ALWAYS dies - I just don't care.

Sappy love stories are universally emotional. Sappy love songs are universally emotional. And La Boheme is the world's most popular opera because the story is POWERFUL. This movie draws out my emotions. I laugh, and I cry, and I sing the hell along, because the movie takes control of my mind from the first instant (well, that's not true. It takes control of my mind from the first instant it becomes less frenetic, when you first see Satine).

And, as has been mentioned, it is just SO pretty.

However, it is one of those movies that I completely love but also completely understand when others don't. It has lots of elements that are not so good, especially to people with different psychological profiles than mine (those who are much more attached to the modified/bastardized songs, for example, are often annoyed by the music), and I completely understand when somebody doesn't love it. It appeals to my inner sap, my inner sing-along game, and my inner desire to have sex with Ewan MacGregor and Nicole Kidman, and I understand that (most) of these traits are not universal.

Well, let me be clear -- I *liked* the movie. Love it/hate it wasn't really how it worked for me.

I wouldn't say it's style over substance, necessarily, because how much substance can such a hackneyed old plot (it's true) have? Such a plot *requires* style to make the plot into a story we're willing to hear yet again. And Moulin Rouge worked in that sense, though -- for me -- barely.

As for the modern music -- well, I can't get past the anachronism, frankly. Sure, love songs are eternal, blah blah schmoop-cakes, but it took me out of the movie every single time.

I liked it. I didn't love it, and it was the frenetic pace and the farcical elements that were responsible for that... and the fact that I couldn't relate to the way the characters were behaving - Satine's refusal to do what she was so good at to save her lover (hello, ita), or Christian's anger with her later. The music, I enjoyed. Anachronistic music amuses me more often than not - like in Knight's Tale.

I liked Moulin Rouge, and I appreciated the anachronistic music. (On the other hand, I loathed A Knight's Tale, but that had worse problems than just the music.) As mentioned, Ewan OWNS that role, and he makes me all swoony. But it never reached me on an emotional level. I guess I like my love stories to actually show me why these two people are in love. Just presenting it as "hey presto, true love! no, really!" rarely works well for me.

The best way I can think of to describe Moulin Rouge is that it's like a bunch of shards of mostly beautiful stained glass all jumbled together in chaotic fashion rather than given meaning by an orderly framework. There are parts I absolutely loved - David Wenham's Audrey, Ewan singing "Your Song" to Nicole, the Can-can, Broadbent singing "Like a Virgin"... but it didn't hold together for me, and a lot of the frenetic transitions actively pissed me off.

Broadbent singing "Like a Virgin"

::shudder:: This was a total watch-from-the-hall moment.

I thought that it was stunning to look at, but I felt that besides Ewan and Jim Boradbent, everyone else was mediocre. And in musicals (as muuch as I dislike the genre) the songs are supposed to ultimate expression of heightened emotion. To me, it felt like the songs were used as expression enough for the emotion, and it was mostly absent elsewhere. Especially in Nicole Kidman's acting.

I thought the use of Roxanne was brilliant, not least of all because it took a while for it to click for me.

As for the others ... middle of the road. I like the idea of the reuse, but I didn't adore it.