‘So Exciting! It Will Run For 50 Years!’

This week's writing

When I saw Moulin Rouge! 25 years ago this weekend, I thought it was less a proper movie musical than an overstuffed collection of highly camp music videos. So, of course, I adored it. Nicole Kidman is wonderful as the doomed Satine, a courtesan in turn of the century Paris. (I mean the turn into the 20th Century not this crummy one without Marilyn Monroe.) Ewan McGregor is the young writer who falls in love with her, and they are set to live happily ever after except for her professional obligations to sleep with other, wealthier men and her eventual tragic death from one of those cinematic diseases where you still look beautiful but you just sound a little like Miles Davis. No one died sexier than Nicole Kidman in Moulin Rouge! and I confess that sounds weird. (Watch her performance below of the decidedly 20th Century song “Diamonds Are A Girl’s Best Friend.”)

Moulin Rouge! was directed by Baz Luhrmann, who is like Ed Wood with an actual budget. I don’t mean that entirely as a slight. Ed Wood had a madman’s vision but without the means to ever execute it effectively. Of course, he also lacked the technical skill, and money can’t solve all your problems. Sometimes, more money only leads to more of them.

Luhrmann is technically proficient, but he lacks subtlety, which again I find compelling at times. His 1996 version of William Shakespeare’s Romeo and Juliet (literally titled William Shakespeare’s Romeo + Juliet as if the author’s name is the first question on the exam) is overwrought and ridiculous, which is appropriate for a teenage romance. His 2013 adaptation of The Great Gatsby is just plain ridiculous.

Here is the Moulin Rouge! cast performing “The Pitch (Spectacular, Spectacular)” number. The score is the “Can-Can” from the operetta Orpheus in the Underworld by Jacques Offenbach. The frenzied dance — now simply known as the “Can-Can” — was originally titled the “Infernal Galop,” an appropriate description for pitching a project to financial backers.

“The Pitch” is my favorite number from the film, but for some reason it wasn’t included on the first soundtrack collection. Fortunately, “The Pitch” eventually made it onto a later, second collection. Finally, my angry letters meant something.

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Luhrmann liked to flavor his films with (often anachronistic) pop songs, and the soundtracks were usually big sellers. Romeo + Juliet features The Cardigans’ “Lovefool” and a remix of Garbage’s “#1 Crush.” I still listen to will.i.am’s “Bang Bang” from Gatsby. Moulin Rouge! owned the summer of 2001 with the cover of “Lady Marmalade” by Christina Aguilera, Lil' Kim, Mýa, and Pink. I loved Fatboy Slim’s “Because We Can,” although despite the lyrics, it is not the “Can-Can.”

I can enjoy Luhrmann’s jukebox musical approach to his films, but I’ve always preferred original scores. Danny Elfman, who turns 73 today, is one of the greats, who I rank alongside Bernard Hermann and John Williams. A year after his funky title jam for John Hughes’s Weird Science, he composed the epic score for Pee-Wee’s Big Adventure. This began his long-running relationship with director Tim Burton. It’s almost impossible to imagine Pee-Wee’s Big Adventure without Elfman’s score. It’s almost like a vital supporting character. Elfman’s score for Batman (1989) soon came to define the character as much as Williams’ Superman score. Elfman’s relationship with superheroes would extend beyond Gotham City: He later composed scores for Sam Raimi’s Spider-Man (2002) and Doctor Strange in the Multiverse of Madness (2022) featuring my beloved Scarlet Witch.

Elfman was the first composer whose movie scores I bought at a record store and listened to constantly on my portable cassette player (yes, this was the early 1990s).

Here’s a clip of Elfman performing the magical “Breakfast Machine” live.

It’s still springtime in my heart at least, so if you haven’t already, please consider taking advantage of my “Spring Fling” subscription sale — 40 percent off the usual annual paid subscriber rate. That’s just $30 a year. Thanks to all who have upgraded to paid subscriber status recently.

Previously on The Play Typer Guy:

Another Memorial Day means another wonderful year since I met my lovely wife in 2007.

Is It Memorial Day Already?

I argue that Donald Trump’s MAGA purge of any Republican who even mildly defies him is not a show of strength but rather tremendous weakness.

Trump's Weakness Isn't Strength

I wrote about how eating at home — even the dreaded “casserole” — is hardly a fate worse than death.

DoorDash Isn't Why You're Broke But It's Probably Not Helping

Texas Republicans rejected their incumbent Sen. John Cornyn and nominated perpetual corruption machine Ken Paxton. He’s a scumbag, but at least he’s not “vegan” and likes trans kids like that “woke weirdo” James Talarico. I’ll probably never understand how these people see the world.

That’s it for this week. I’ll see you on Marilyn Monroe Day (that’s Monday for you non-believers).