When it appeared in the great screen the version of Romeo and Julieta, directed by Baz Luhrman, an admiration murmur arose simultaneously from the throats of the spectators who the puritanos lovers of the cinema and the theater were torn the clothes before which they saw, the theater work par excellence of the dramatist par excellence had become a musical video of more than two hours, post-modern images with dialogues of the brilliant Shakespeare to rate dances at least inconcevible for, skillful for others, a peculiar one for me.
Now, with Moulin Rouge, this Australian genius gives a nut blow to its escentricismo and rescues the sort of the pure musical comedy turning it into, authentic, and spectacular bodevil of the Bohemian Paris of principles of the last century. From the previous presentation, with that drop curtain that discovers the conductor, until conclude the credit titles, this process of transformation is developed to the eyes of the spectator, with an aged and charming air of the true modern and innovating spirit who was born in Mont Martre.
Musical comedy a the classic thing yes as far as definition but not as far as conception since one separates from the inclusion of processed classic songs for the film that often pued
in causing certain I discourage in the public (and who to me personally bores to me most of the times) to wake up our best complicity taking estrofas from classic of the pop one of the 80 which they go from Madonna, U2, Elton John, Beatles, David Bowie until Queen, with a fresh air to rescue the sort, all this in the voices of a Ewan McGregor who has surprised pleasingly more than one with as much as dramatic impressive a musical interpretation and that it has returned to leave with the mouth opened to own and strange with an enthusiastic personage who moves away it of the image of cold and calculating woman to let to the passion desvordar itself by each pore of his skin, interpretativa passion, musical passion, passion in a single word.

The first impact, the line of vision. It seemed that the artistic direction was in charge of the Grimm brothers, or some other classic fabulista, the scenery, the ambientación, the narrative poetry is so so of principles of the century XX that it enamors. The scene in which the lovers sing and dance on a Paris of cardboard stone, taken in a cloud and illuminated by a moon with the face of the teacher of ceremonies of the club is really precious. The own Moulin Rouge, a spectacular night club of colorful that hides in its terrace an elephant in which all we would want to live and each one of the details such dynamism and perfection are assembled with that the senses are an authentic celebration. Only that him lack to the this film is to be able to smell the perfume of the room of dance, to touch to the sumptuous dancers and to taste flavor of the kisses of Satin. The festival of images that to us the retina strikes, one guessed right putting in scene, and mainly those choreographies acclimated in the Paris of end of century with an excellent selection of clothes, as well as the spectacularity of the scenery does that tod
you the senses esten complete.

Third impact, the musical comedy. As either I have said before, the songs of this film are something natural of the action, are not put with shoehorn or without coming to story, they are part of the dialogue, they are a same being in history, a sublime way to express the feelings of the personages, and this Luhrman makes a way skillful, making Gallic of impressive a musical knowledge it assembles in the dialogues (and it adapts to the situation) estrofas the more significant and poetic of the songs pop of the 80 the more remembered. To emphasize the musical number of Christian singing " Our Song " de sonorous Elton John in whom we became jumbled completely in a visual fantasy and that takes us world to the wonderful of a heart they recien enamored, or the sequence of " Elephant Love Medley " in which as much It satin as Christian sings a repertoire of subjects of love of artists so known as John Lennon, Phil Collins and Whitney Houston.
But I would emphasize two moments: the dramatic force of classic as " the Roxanne " de Police in form of tango first to express and to explain what is and means tango, and second to give to more force to the situation of inner fight before a situation limit of both protagonists. And the use of the fantastic song of Queen Show must go on. in one of the most dramatic moments of history, inconmesurable, brilliant, fantastic scene that dried the thirst of the group with better ballads of the 80 and which it came hoping during all the film, without a doubt, the spera
e was worth the trouble.
Fourth impact, the interpretation. Ewan McGregor, lady's man as never (everything is necessary to recognize it), not only interprets perfectly the one of descubirdor of the love, of enthusiastic writer who breaks with the rules settled down and enthusiastic by the artistic movement of Paris, but that in addition sings as the angels and dances with gracejo necessary to leave than well the drink more. On the other hand, Nicole Kidman, to whom all the party removes to him to its eyes bluer than ever, to his hair redder than ever and to its pallor, more sexual than ever, demonstrates for the second time in this season the immense talent that she has, unties the fierce interpretativa that takes inside and it moves away of the image of cold woman and calculating who does not get passionate to anybody of which as much they have erased it, leaving agape to them and totally given to them with an interpretation that smells of success from very far, and although it yes does not reach the levels of McGregor in the sung subjects, that to have been a worthy companion of the monsters of the sort like Fred Astair or Gene Kelly. But we do not forget a secondary personage but vital importance, the one of Tolouse-Leaoutrec painter, interpreted by John Leguizamo who, once again incarnates of skillful way a secondary one of difficult registry, with the particularitity to be a dwarf (when this actor is of one more a stature than considerable) than does piruetas, almost saltinbanqui, brilliant dancer, borrachuso but