Monday, November 6, 2017

Modern musical



(originally published in The Outreach Connection in June 2001)

There’s a new musical to write about – Baz Luhrmann’s Moulin Rouge. It’s a frantically paced story of love and loss in 1900 Paris, with Nicole Kidman as the cabaret star and Ewan McGregor as the starving artist who falls for her, even though she’s in the grip of a jealous baron who can break the show.

I get to write about musicals so seldom – a reference point seems even more necessary than usual. A few months ago, I was watching Vincente Minnelli’s The Band Wagon, which is probably my favourite of all movie musicals. When I’d finished, I was so exhilarated (this on a ninth or tenth viewing) that I rewound the tape to show my wife two things that sum up my love for the movie. First – Fred Astaire’s rendition of “By Myself,” filmed in one smooth unbroken take as he ambles along a railway platform. Second, his more energetic “Shine on your Shoes” number, in which he taps and leaps around a vast varied set of props. This too is shot in very few takes, and provides a sense of unbroken movement, but I was struck by one point at the end where Minnelli does make a cut, coinciding with a key transition point in the score, setting up a new camera angle and rhythm that electrify the routine’s final section. I doubt there’s anything technically that hot about this edit, but if anything about the framing or the timing weren’t exactly that, it would jar. Its greatness lies in invisibility.

The Band Wagon

For me, The Band Wagon is one of Hollywood’s happiest accidents – not that I don’t think Minnelli and the crew knew what they were doing, but I always think the end result has a sublimity that transcends anything they could specifically have had in mind. It’s just a simple fable about a fading song and dance man who comes back to Broadway to star in a pretentious “modern version of Faust” that’s an instant flop, then saves the day by retooling the show into an old-fashioned vaudeville revue. One of the things that intrigues me is that the reversal into simpler and happier showbiz values is so comprehensive that it comes to represent some kind of world view – Astaire and Cyd Charisse get together at the end, but never talk about love, only about showbiz (in a Howard Hawks movie this could be a randy metaphor but in The Band Wagon it seems like a vaguely traumatic displacement). Around the time he made the film, Minnelli was starting to digress from musicals to make intense psychological dramas like The Cobweb and Lust for Life, and it’s not stretching things too much to see The Band Wagon as a study in various kinds of derangement, made delicious by the fact that it’s simultaneously as poised and alluring as anything could be.

The Band Wagon is just one example of what movie musicals never do anymore; it exhibits complete mastery over a genre, and then goes further. Every time we get a musical now it’s an event in itself, just by virtue of being a musical, and there’s no possibility of just playing it straight. Lars Von Trier in last year’s Dancer in the Dark deconstructed the genre – it was an interesting film, but surely the project was too inherently marginal to engender real excitement. Evita was just too much of everything all over. For me, Woody Allen got surprisingly close in Everyone Says I Love You, Maybe it helped there that Allen didn’t seem to have taken that much more care over the film than he does over his normal efforts – at least it didn’t seem paralyzed and squeezed by the technical demands.

Your Song

Moulin Rouge seems to aspire at times to avoid cutting altogether – through computer-aided swoops across space and time, the film creates one continuum of experience after another. At other times Luhrmann hardly lets a single image hold the frame for a second, throwing together breathless montages of incident and rushing color; the early scenes in the club really do evoke Impressionist paintings come to life. When it’s firing on all cylinders, the film seems madly in love with the process of image making, with the evocation of panache and emotion and excitement. Although notionally set in 1900 Paris, the film is hardly tied to that period in its sensibility – most prominently in the music, which encompasses a selection of pop standards from Bowie to Nirvana. Catherine Tunnacliffe in Eye suggested that the  film’s meaning – as a kaleidoscope of imagery and music from the past 100 years – might have been clearer if it had been released, as originally planned, in the final days of the year 2000: “Luhrmann accurately identifies the 20th century’s main obsession – glamour – and Moulin Rouge elevates superficiality to high art.”

This is maybe most striking in how the film constantly hammers on the supposed transcendent beauty of Elton John’s “Your Song” – for purposes of the movie the lyrics are written by McGregor’s character, and they’re constantly referred to by the characters as a beautiful evocation of a purer sensibility. This is so overdone and self-evidently suspect that the film indeed seems to be laying its superficiality bare. But what kind of achievement is that really? And so goes my reaction to the whole film – nothing in it seems intended to be taken at face value, and yet no other value is proffered. Take the casting for instance. Nicole Kidman’s rather neutrally pretty features and alabaster reticence hardly serve to create a specific presence – she serves as a Lulu-kind of concoction. And Ewan McGregor goes through the movie looking much too pleased with himself. The supporting players are more vibrant, but whoever heard of a musical without stars?



A thousand words

It was long ago established that a picture is worth a thousand words, and Moulin Rouge now confirms that a picture may also be worth a thousand pictures. Current technology and expertise allow the flow of Luhrmann’s imagination to be presented on screen virtually unimpeded. If your imagination happens to fall within the exact same contours as his, then I imagine Moulin Rouge may seem a perfect film. Otherwise you may just wonder what you’re supposed to do with the thing. In its second half especially, I thought the film frequently committed the cardinal sin of being profoundly repetitive. Everything in it seems profoundly necessary in that you feel the weight of Luhrmann’s commitment and ambition to every moment, but this entails, of course, that the whole thing seems entirely dispensable. I hate to sound like the kind of traditionalist old fogy that the bright new vision of Moulin Rouge might have hoped to sweep aside, but Minnelli and Astaire achieved much more with less. There’s real joy and sadness in The Band Wagon, sometimes simultaneously, and I still long for a new musical that can come close to that.

No comments:

Post a Comment