#Nicole Kidman 2024 movie | Explore Tumblr posts and blogs

deviiancetv · 4 months ago

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Favorite show or song at the moment??

There has been a ton of new music that I’ve really enjoyed so it’s hard to pick, but I can think of a few. As for as shows, there haven’t been many shows that I’ve watched. None of them have been peaking my interest lately, but I’ve got several movies I’ve watched that are pretty good

My favorite song(s) at the moment:

Recent films I’ve watched (100% recommend all of these):

The Watchers ~ Mina, played by Dakota Fanning, gets stranded in an expansive, untouched forest in western Ireland. Finding shelter, she unknowingly becomes trapped alongside three strangers who are stalked by mysterious fae creatures every night.

Barbarian ~ A young woman, played by Georgina Campbell, discovers the Airbnb she booked is already occupied by a stranger, played by Bill Skarsgård. Against her better judgment, she decides to spend the night but soon discovers there's a lot more to fear than just the unexpected house guest, but something far more horrifyingly sinister.

Practical Magic ~ Two young witches, Sally played by Sandra Bullock, and Gillian played by Nicole Kidman, born into a magical family, have mostly avoided witchcraft themselves. But when Gillian's vicious boyfriend, Jimmy Angelov dies unexpectedly, and police investigator, Gary Hallet growing suspicious, the sisters give themselves a crash course in hard magic.

The Boy and The Heron ~ Mahito, a 12-year-old boy, struggles to settle in a new town after his mother's death. However, when his father remarries, and he gains a new stepmother. When his stepmother goes missing, a talking heron informs Mahito that both his mothers are still alive, he enters an abandoned tower in search of her, which takes him to another world.

Thirteen ~ Tracy, an honor student with a troubling home life, tries to conceal her inner turmoil by excelling academically, until she befriends the rebellious and cunning Evie, her school's queen bee. Evie takes Tracy down a whirlwind of teenage angst and experimentation with drugs, sex, and stealing. It’s not long before Tracy’s mother, Melanie realizes she must step in and stop her daughter's destructive lifestyle.

Lovely, Dark, and Deep ~ A new back-country ranger, played by Georgina Campbell, travels alone through the wilderness, throughout the film she goes on a journey to try and uncover a mysterious event that happened to her as a child.

A Mouthful of Air ~ Julie Davis, played by Amanda Seyfried, is a children’s author & illustrator, who struggles with post-partum depression who goes through an ongoing battle of trying to cope with it.

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knightsickness · 22 days ago

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I love it when you talk about movies 🖤 What are the best ones you watched recently?

yayy thank you ^^ here are some ive really liked in the past couple of months

wishing stairs 2003 - most recent film i watched korean ghost/slasher set in an all-girls arts boarding school. the dormitory stairs have 28 steps but sometimes when you count them there are 29. any wish made on the 29th step comes true regardless of who has to die to ensure it

to die for 1995 - mockumentary about small-town weathergirl nicole kidman killing people in her nowhere-town as part of her scheme to achieve petty fame. if you like drop dead gorgeous 1999 at all you’ll like this kidman soo good in it + theres a gratuitous cronenberg cameo

psychic vision jaganrei 1988 - most underrated film on here noo one has seen this. japanese found footage/mockumentary about an idol performing a song her producers gave her not knowing the girl they aren’t crediting for it killed herself. some genuinely fun and creepy ghost stuff + i say as generally a found footage disliker uses the format well

the house of yes 1997 - guy brings his girlfriend home to meet his insular wealthy family, including his unstable twin sister hes been in an incestuous relationship with since childhood. she likes to roleplay jfk’s assassination with him. offputting dark comedy suspense movie

the substance 2024 - if youre on tumblr youve already heard people rave about the substance its fun i really liked it 👍

charade 1963 - audrey hepburn returns from a ski holiday and finds her husband has been murdered + a group of men who think she has the money her husband stole from them chasing her. witty intensely charming genuinely unpredictable probably my favourite audrey

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boringkate · 2 months ago

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Shout out to Nicole Kidman for doing two "older woman gets slutty with a younger guy" movies back to back! Two in one year!

A Family Affair (2024) doesn't look great (and apparently isn't), but omg I'm hyped for Babygirl (2024)!

We're in a MILFy cougar film golden age rn with The Idea of You (2024) (a true banger) coming out earlier this year too! What a time to be alive!

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drewstarkeyupd · 2 months ago

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Queer Makes Drew Starkey a Movie Star. Its Impact on Him Was Even More Profound

The Outer Banks star redefines himself as Daniel Craig’s enigmatic lover. Over lunch with Vanity Fair, he calls the role “a wake-up call for me.”

By David Canfield

September 13, 2024

media.vanityfair.com

Photo by Greg Williams

“This is my breakfast,” Drew Starkey proclaims as a plate of medium-rare steak and potatoes gets placed in front of him, a near-empty cup of black coffee to its side. He woke up at noon, coming off of a late-night screening of his new movie Queer, for his final day in Toronto. It’s the last meal the 30-year-old star will have before he flies home, taking a pause from the glamorous fall-festival circuit. He’s just walked the same Venice red carpet as Angelina Jolie and Nicole Kidman; he’s newly swept up into the A24 family. Things are moving fast. As he searches for a fork, it’s natural to wonder how he’s taking it all in.

The answer to that is hardly simple, in part because Starkey’s been on a journey of introspection since he was cast in Queer well over a year ago. An adaptation of William S. Burroughs’s semi-autobiographical 1985 novel, the film directed by Luca Guadagnino takes an elliptical approach to the story of a slippery romance between two men in mid-century Mexico City. Lee (Daniel Craig) becomes infatuated with a beautiful, enigmatic younger man named Allerton (Starkey), whose sexual proclivities prove maddeningly difficult to read. They become intimate—as captured by Guadagnino in explicit, passionate detail—and eventually travel both around South America and into the depths of their own subconscious (via a trippy ayahuasca sequence). One piece of dialogue, spoken at different points by both of them, haunts their courtship: “I’m not queer, I’m disembodied.”

Starkey references the line at one point over our meal. A feeling of disembodiment rushed up in him about as soon as he finished production on Queer, one of many reasons he’s still processing the film’s impact on him. Its professional impact may be clearer: The star of Netflix’s Outer Banks and teen films like Love, Simon reintroduces himself here with a rich, complex, and brave performance that ought to open new doors. But as we chat, he sounds more interested in the personal doors Allerton may have introduced him to.

At the film’s Toronto premiere the night before our interview, Starkey revealed on stage that Guadagnino first described Allerton to him as a “nasty bitch.” Naturally, we began there.

Vanity Fair: Let’s start with “nasty bitch.” How do you react when you get that description for your character?

Drew Starkey: Luca was being cheeky, but in earlier conversations we had, he talked about Allerton as cold and slippery and very hard to read—and Lee is always trying to put his finger on the pulse or define him in some way. He’s always just out of grasp or just out of reach. There’s a quote that Burroughs had in the original Queer from 1985, one of the last paragraphs. In the sentence, it says something to the effect of, “What happened to that knife called Allerton?” That image was always really an anchor for me. So, a nasty bitch. [Laughs]

You’ve talked about how you are still figuring him out.

I’m going to give you a Burroughs quote. For the last few days, I’ve had his quotes in mind.

Just for the last few days?

[Laughs] Well, the past year-and-a-half. But he was talking about writing Junkie versus writing Queer. He said that he felt like he was the one writing Junkie but he felt as if Queer was writing him. That kind of mirrored my experience in the filming of it. I felt like I did all my work, and I had to let Allerton lead me—which is so different from the way that I’ve worked in the past. It was a lot of meditating and letting things happen. But it was tough. It was really tough.

What does surrendering to the material feel like?

It feels like you’re holding onto a plane crash. You’re like, “I hope I survive this.” There’s an energy to it. [Costume designer] Jonathan Anderson is a friend of Elton John’s, who was an incredible help in terms of the wardrobe and what he wears. So much of it was the image of Allerton, what Lee is drawn into and sucked into. That was really a lot of the focus: What’s the silhouette going to be here?

I was going to ask you about the physicality. You move in a very specific, alluring way.

Well, I lost a lot of weight for it. There’s only a few photos of Lewis Marker, who Allerton was based on, but he was very thin. The bodies of that time were not very muscular.

There was just a great essay in TheNew York Times that touched on that, specifically related to the show Fellow Travelers.

Yeah, I wanted to avoid that. I see it a lot, in a kind of mid-century period setting—because that’s such a modern look. This was about a four-month process of losing about 30 pounds. At first, I stopped eating. Not a great idea. Then I worked with a nutritionist. I got a little bit too skinny at one point and then he was like, “Wait, wait, wait.” But that really did change the way I felt and moved. It felt very natural. And then [Daniel and I] were in, essentially, a dance class with each other. My body felt a lot more fluid and I think that kind of informed my gait. It felt like a lot of outside-in work, which was fun.

You clearly sensed this was a major opportunity. What scared you the most?

Living up to material. I felt a lot of pressure, maybe too much. I was quite nervous, and usually I feel okay. And this was like my heart was racing on the first day. One, Luca and the words of Burroughs, and then Justin Kuritzkes did such an amazing job with [the script]. But then working with Daniel and Lesley [Manville] and Jason [Schwartzman], it was an amazing cast. I felt like I was being found out. I never really had that before.

And given the weight loss, you had a lot of time to think about it before even stepping on that set. Could you think about anything else?

No. I was just engrossed with everything. All my responsibilities went out the window. I mean, every day I woke up and thought about it. It really felt like who I was for a year and a half. I’m not one that can really detach from a role and work in that way. It has to be: Blinders on. I can’t separate.

Everyone’s last day of shooting was the final scene you see in the movie. It was Daniel and me, and it was very emotional on the last day. I never really cry. And I’m crying! Just because it was so—it was so much. It was such a release.

Did you feel generally nervous to do sex scenes as you would be asked to do in this movie?

Not more than any other film, any other sex scene. But there was so much conversation around it, too. Luca made it a point during the first two weeks in Rome, when we had table readings and rehearsals, to separate those and talk about those as their own thing. Get comfortable with it. Daniel and I had been familiar with each other enough that by the time we got there, it felt like any other day.

Really?

It, strangely enough, did. There was such a comfort in our bodies. We were really, for months, essentially in a kind of choreographed jujitsu. There was no trepidation. There was no shying away from the nude scenes at all. Dan and I just wanted it to exude a type of truth and normalcy, how two people would be intimate with one another. You don’t want to put anything on top of it. Yeah, so strangely enough, no, it didn’t. It really didn’t.

To your point about the choreography though, there are specific sex scenes that indicate where the characters are in relation to each other, in terms of power and connection. How did you balance the jujitsu you’re talking about with that sense of intimacy?

We would talk with Luca about how he had a picture for it, his ideals for a given scene. We would just walk through it, but then left some freedom to let things happen. That’s the way Luca works in general. He’ll have a specific idea like, “Here’s my idea for what I think it should be, how I think it should be played out.” And then it’s a very intimate, small, closed set. Only the camera operator, Bianca [Butti] was with us. Months prior, of course, that was something that I was weighing like, “Oh, my God”—I was pretty nervous about it. When you read the script and you see the scene, you go like, “Oh, man.” But Luca was very, very particular about, “I will do nothing that you are uncomfortable with.” We had an open dialogue about all that. And Daniel is also such a giving person. He’s a great partner. Once we got into working, all of that was fine.

The final chapter of the film centers on Lee and Allerton doing ayahuasca. Have you done ayahuasca before?

No, but I’m interested. I feel like I’ll know when it’s time to; I don’t think right now is the right time. It hasn’t called to me. But we had some crew who had done ayahuasca and it was a great reference. It was like: “Okay, how did it feel in your body? How did it feel to walk? How nauseous were you?” That part was really fun. Yeah, I’ve never done ayahuasca—yet. But it seems, I don’t know. I certainly have some things that I need to address.

What can you share about that?

This year, I definitely got happier with myself. The past five years or so it’s been fast-paced and always going. Funnily enough, the strike happened and I felt incredibly disembodied. I had nothing to latch on to. I actually thought about Burroughs in that time, and his relationship with what he calls the ugly spirit. It’s this version of yourself that only wants to destroy, and how to make destruction your friend. I really did a lot of soul-searching, because we finished right before the strike happened. It was like boom-boom—I had this very intense, beautiful, creative kind of experience, and then nothing. I was a little mad.

Did you feel like work was important to keeping those feelings at bay?

Yeah, and maybe it’s not really that active. It’s just, I care so much about this and I want to do this, and that’s a byproduct. You lose a sense of yourself. That’s definitely my relationship with acting. I don’t feel like a confident person. I love life and I love tackling life, but in some way, I’m substituting the job for therapy. I never have admitted that I was doing that. And then this past year, I was like, “Oh, that is what I’m doing.” Now I need to actually ask questions about myself and consider myself, and talk and communicate. I didn’t do that a lot about what I was going through. I love to work and I love to distract myself.

It’s interesting to be going through that while you’re playing a character who is so non-verbal.

Mm-hmm. I’ve thought about this a lot. Even though Allerton felt like the hardest person to be, he also felt like the closest person to me in a way. In a lot of ways I really, really understood him and it felt like me—the way he moves through the world, the way he interacts with people. It was like, “Oh, right, that’s how I would be.” Maybe he was a wake-up call for me.

You already alluded to it, but I was going to ask you: What does, “I’m not queer. I’m disembodied” mean to you? Clearly, you’re someone who thinks a lot about Burroughs these days, and it is the core line of the film.

Oh, I’ve thought a lot about Burroughs. I think it’s the inability to define yourself. He doesn’t use language to express anything, to show his admiration or how he feels. Luca always said in the beginning of this, “It’s not a story about unrequited love. It’s a story about unsynchronized love.” Having that type of love can make you feel more detached from yourself. These are two people who do have this love for each other, and it’s beautiful—you see fleeting moments of it, and you see Lee attach himself to those moments. But they’re operating on two different planes of time in some way. That can make you feel more disconnected, experiencing that and confronting that with your counterpart, than even being alone can. [Pause] Yeah, I think I answered?

Very much so. It’s a movie that prods some deeper introspection, so I appreciate the answers.

Yeah, I know it’s a movie that if I saw it at 14 or 15, it would open doors for me, like: “Oh, my God.” My parents weren’t prudish in any way, but there was definitely some censorship. It was my grandma who was watching us, I was maybe 10, when she was like, “What rated-R movie do you want to watch? Pick one. Go pick one.” Me and my brother were like, “Okay!” I think we watched The Patriot or something. [Laughs] But yeah, I’ve had to go off and find those things on my own.

This interview has been edited and condensed. This story has been updated.

#drew starkey #queer film #queer #tiff 2024 #luca guadagnino #justin kuritzkes #omar apollo #daniel craig

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insanityclause · 8 months ago

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Deadline’s Contenders Television, the event where stars and showrunners talk up their shows ahead of Emmy voting, has unveiled its lineup.

The event kicks off on Saturday April 13 and runs through Sunday April 14 at the Directors Guild of America in LA. There will also be a virtual livestream of the event. Full details of the event and an RSVP link can be found here.

It will give you a sense of the hits of the last twelve months, as well as some shows that you’re about to be talking about, as the networks, studios and streamers vie for some awards love.

Stars attending include Tom Hiddleston, Nicole Kidman, Brie Larson, Kristen Wiig, Rebecca Ferguson, Lily Gladstone, David Oyelowo, Common, Jimmy Fallon, Giancarlo Esposito, Joey King, Andrea Riseborough, Sebastian Maniscalco, Bill Pullman, Kiefer Sutherland, Logan Lerman, Kelsey Grammer, Matt Bomer, Jonathan Bailey, Allison Williams, Maya Erskine, Nathan Fielder, Skeet Ulrich, Jeff Probst, Omar J. Dorsey, Harriet Dyer, Patrick Brammall, Sophia Di Martino, Sarayu Blue, Ji-young Yoo and Taylor Zakhar Perez.

Shows that will be featured across the two days include Parish, Masters of the Air, Lessons in Chemistry, The Morning Show, Silo, Palm Royale, The New Look, Survivor, Colin From Accounts, A Murder at the End of the World, True Detective: Night Country, We Were the Lucky Ones, Under the Bridge, Murdaugh Murders: The Movie, Loki, Alice & Jack, Genius: MLK/X, The Tonight Show Starring Jimmy Fallon, 3 Body Problem, Mr. Monk’s Last Case: A Monk Movie, Lawmen: Bass Reeves, Frasier, Mr. & Mrs. Smith, Fallout, Expats, Red, White & Royal Blue, Fellow Travelers, The Curse, The Caine Mutiny Court-Martial, Platonic and Bookie.

There will also be numerous top showrunners and exec producers including Chuck Lorre, David Benioff, D.B. Weiss, Alexander Woo, Benny Safdie, Graham Yost, Gary Goetzman, Lee Eisenberg, Abe Sylvia, Brit Marling, Zal Batmanglij, Gina Prince-Bythewood, Francesca Sloane, Lulu Wang, Sarah Schechter and Nicholas Stoller.

The studios, networks and streamers participating include AMC, Apple TV+, CBS, CBS Studios, FX, HBO and Max, Hulu, Lifetime, Marvel Studios and Disney+, Masterpiece on PBS, National Geographic, NBCUniversal, Netflix, Peacock, Paramount+, Prime Video, Showtime, Sony Pictures Television and Warner Bros. Television.

The event is sponsored by Apple TV+, Eyepetizer Eyewear and Final Draft + ScreenCraft in partnership with Four Seasons Resort Maui and 11 Ravens.

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Both Tom and Sophia will be there.

#tom hiddleston #loki #sophia di martino #deadline: the contenders

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elephantlovemedleys · 4 months ago

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My ★★★★★ review of Moulin Rouge! (2001)

or rather, just me rambling about The movie rewatch of my 2024 that i didn't expect to became a highlight, and is definitive of one of my biggest interests and current fixations at this rate.

At the start of the year, I promised myself to go and rewatch some films that I have not seen in a long time, nor do I have memories of in terms of recalling the plot. For some reason, one of the movies that came into mind for me to brush over again was Moulin Rouge! I do have some history with this film, as I remember one of the very first songs I learnt how to sing, was Lady Marmalade (yep, this is actually true). And I recall myself as a child seeing various scenes from it on TV, thinking of how gorgeous Nicole Kidman and Ewan McGregor looked together and overall how colourful the movie looked. Other than that, I eventually did get to see the film as a whole when I was a little older, and I did like it of course, but it somehow just stopped there.

I’m pretty sure the last time I saw it was back in 2017. My memory gets quite fuzzy so i can’t exactly remember, but anyways the point i’m making here is my god, I can't believe i didn’t appreciate this movie back then as much as i do nowadays. This isn’t the first time this kind of scenario has occurred to me, as I had the same experience with the Princess Bride, watching it as an eight year old. I thought it was fine and I liked it, but it also stopped from there. But seeing it again after so long when I was 21, I just fell completely in love, and it’s now one of my favourite movies of all time.

In my part, what struck me to the core and became such a standout was the immense passion and emotional intensity that surrounded the relationship between Christian and Satine. An idealistic man who dreams of being a writer, moving from a well off family in London to pursue his dreams and join in a cultural revolution, and a more cynical woman who works as an entertainer at the Moulin Rouge and as a courtesan, but has hopes and aspirations to become an actress. They have different approaches to how they view love, Christian never having experienced the act of falling in love, is curious and wants to know how it feels like, and Satine being somebody who can’t dwell into love for any means due to her job and the life she leads, lets it clash altogether. But one thing is for sure, it’s in these differences that they fall for each other. The more they spend time together, the more they realise what they have been looking for all along or never knew they needed was as simple as that, love. But it’s through the expression of song, and writing that makes a simple melody or a lyric that screams “I love you!” to the rooftops so powerful, and even more dramatic because as much as they love each other, they still cannot be together due to circumstances–especially a very inevitable doom. The way you come to care about these characters and root for them even if things don't fall perfectly into place stems from having a lot of heart, and it's one i totally know that i have. A very defining factor that drew me to their love story was the rawness, and utterly convincing and undeniable chemistry between Nicole Kidman and Ewan McGregor. There are instances wherein i'd be watching their scenes and i feel like i shouldn't be there, that i was intruding something very intimate happening. Goodness, nobody else i believe can replicate this kind of chemistry balanced with such amazing performances, all they had to do was look at each other and sing to each other and I already knew what it meant. You could feel the love, the yearning, the want, and passion between them which is just so fantastic, that it also goes to show that it is in the power of this sort of acting showcase and the vulnerability shared that makes you feel every inch of how much you want these characters to overcome such circumstances and be together.

Everything that i said in the paragraph above, is why my favourite scene is the Come What May reprise, and why i just adore this movie so much. It tugs right through your emotions, one minute you're laughing and singing along, and the next thing you know you feel as if your guts have been torn out the way Christian's heart felt like multiple knives were thrown at him when Satine died in his arms. Getting really into this film and going over it has become one of the best things or one of my ultimate highlights for the year, and i definitely don't regret anything. That being said, i shall go and listen to Come What May again for the nth time of the day.

#i would appreciate it if people would go like or comment on my input on letterboxd too! <3 #personal #maria rambles #moulin rouge #films #watches #baz luhrmann

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trendfilmsetter · 7 months ago

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First image of the upcoming Netflix film A FAMILY AFFAIR starring Zac Efron and Nicole Kidman

Releasing on Netflix June 28th

#a family affair #movies #2024 movies #netflix #netflix movie #netflix original #tv #tv and film #tv and movies #nicole kidman #zac efron

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yssa3002 · 7 months ago

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Roundtable Presentation: A Musical in Disguise: Moulin Rouge (2001).

What are the social aspects within the film’s narrative that align with the film’s songs?

The film explores many social aspects throughout the course of the narrative, and they play extremely significant roles in the story and in providing context for the story. It explores themes of love, sin, societal norms, freedom, forbidden love, love, and ambition. I included forbidden love as being separate to love in this case because while love is an overarching theme, the narrative is as tragic as it is because the love is forbidden.

For example, to set the stage for the film contextually, we have three songs performed at the nightclub, Moulin Rouge, by Satine (Nicole Kidman) and an ensemble of the other nightclub performers. They perform "Lady Marmalade" which talks about the performer's sense of independence as women doing what they have to do provide for themselves. One of the lines in the song is "We independent women, some mistake us for whores/I'm sayin', 'Why spend mine when I can spend yours?'" The next song, "Sparkling Diamonds" performed by Satine also contributes to this idea of freedom and ambition. "Sparkling Diamonds" has a catchy line, "Diamonds are a girl's best friend...'cause we are living in a material world/and I am a material girl". This provides context to our story, and the kind of life that the female protagonist leads, as her character is driven by her ambition to become a "real actress" with no time for love.

Also during this ensemble musical number at the nightclub, the men dance around singing lyrics to Nirvana's "Smells Like Teen Spirit", "Here we are now, entertain us", suggesting that the women are there solely for their pleasure, and that they are entitled to the power they hold in that dynamic.

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How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

Seeing as this movie was released in 2001, the songs used in it are from an era that now in 2024 evokes much nostalgia. Now, the film samples a lot of existing songs, and combines them to make new songs. Some of the songs with historiographies that carry the most weight are "Come What May", "Roxanne" by The Police in "El Tango de Roxanne", "Your Song" by Elton John, "One Day I'll Fly Away" by Randy Crawford, "Diamonds Are a Girl's best Friend" by June Stone and Leo Robins, and "Smells Like Teen Spirit" by Nirvana. However, I will only talk about a few of them.

What's interesting about "Come What May"--as it is actually an original song for the film--is that it was originally intended for Luhrmann's Romeo + Juliet. We are all familiar with Romeo and Juliet, their story synonymous with tragedy. Knowing this, we can get a better understanding of the doomed relationship between Christian (Ewan McGreggor) and Satine (Nicole Kidman).

Now "Roxanne" by The Police is a song about a man who falls in love with a prostitute. The song as is used n the film is meant to convey the futility of Christian and Satine's efforts to maintain their relationship. In fact, it comes at a pivotal time in the film when Christian must confront his jealousy.

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The song "One Day I'll Fly Away" by Randy Crawford is actually a very telling number as it foreshadows what is to come. It is performed by Satine after her first encounter with Christian, and after having passed out on stage earlier that night where we learn that she is very sick. Though within the context of the film, it sounds like flying away means achieving her dream of becoming an actress, but this is not the case. The song's meaning is that one day we'll be able to "fly away" and go to heaven. For Satine, this is very much the case as we learn at the beginning of the film that she passes away soon after falling in love with Christian due to her sickness.

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The last song I'll talk about is "Diamond's Are a Girl's best Friend". This song is about women accepting the cruel ways in which the world operates, and learning to take advantage of it. It talks about not relying on men for anything beyond his material value. This song is sung whilst Harold Zidler (Jim Broadbent), the nightclub's owner tells Satine that he has arranged for her to meet The Duke (Richard Roxburgh) so that she can seduce him and convince him to fund their next show so that she may have a better chance of becoming an actress. Just as the song says not to rely on men for anything beyond their money, Satine must secure The Duke's funding by pretending that she is in love with him.

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What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The film's musical genre that drives it's score is pop. This style of music with the backdrop of Paris in the 1890s creates a bit of a disjointed feel, however I believe this only adds to the timelessness of the film. I also think with the use of songs being from an era much more recent than the 1890s, it gives the story more power almost. Power in the way that the emotions can be communicated in a way audiences can relate to more easily, especially since it is a jukebox musical. In his article, "INTRODUCTION: The Hollywood Musical Is Dead. Long Live the Hollywood Musical!", Alberto Mira writes, "although the stage continues to be one key semantic element in pop musicals, the pop stage brings to mind different connotations: it tends to be more open, less organized, it works less to isolate performers from audiences" (Mira 19). This idea of the open stage applies to Moulin Rouge in the way that even though there is a clear stage, that stage is occupied by both the performers and the audience. This is especially clear in the first ensemble musical number at the nightclub, where there is no distinction between the audience and the performers, as they all pile onto one dance floor. Moulin Rouge is an interesting film to pair with the pop genre, as its concept is very reminiscent of the old Hollywood musical, but the score erases all borders and definitions between the stage and audience.

#@theuncannyprofessoro #oxyfilmmusical #disguisedmusical #Youtube

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