The Australian auteur’s films are intoxicating, polarising spectacles – so from the very bad (Australia) to the very good, we rank his works across film and TV
s we know from having had our senses pounded by various glitter-filled, hyperactive and blindingly bright spectacles, Baz Luhrmann’s films don’t talk – they shout. The Sydney-born auteur practises a film-making ethos he and veteran editorLuhrmann is a polarising director, as everybody and their dog have pointed out. The trick to making sense of Luhrmann is to understand that he doesn’t really consciously manipulate, or even necessarily believe in, subtext. Everything is always on the surface.
. The film seems to go on for an eternity, jerking between shampoo commercial romance, retrograde depictions of Indigeneous people as magical mystics, and an endless parade of Hollywood cliches.Rare is the literary adaptation that makes you think: “I’m pretty sure the director didn’t even read the book.
Ewan McGregor’s poet describes the titular night club as “a kingdom of night-time pleasures”; Moulin Rouge!’s fans may view the film in a similar way. McGregor and star performer Satine fall in love, belting out various songs to very subtly and in no way obviously reiterate the point – such as I Was Made For Loving You Baby.
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