AFI Catalog of Feature Films
Movie Detail
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Moulin Rouge!
Alternate Title: Moulin Rouge
Director: Baz Luhrmann (Dir)
Release Date:   18 May 2001
Premiere Information:   World premiere at Cannes Film Festival, Cannes, France: 9 May 2001; Los Angeles premiere: 16 May 2001
Production Date:   late Oct 1999--late Apr 2000 at Fox Studios Australia, Sydney
Duration (in mins):   126 or 128
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Cast:   Nicole Kidman (Satine)  
    Ewan McGregor (Christian)  
    John Leguizamo ([Henri de] Toulouse-Lautrec)  
    Jim Broadbent (Harold Zidler)  
    Richard Roxburgh (The Duke [of Monroth])  
    Garry McDonald (The doctor)  
    Jacek Koman (The Unconscious Argentinean)  
    Matthew Whittet (Satie)  
    Kerry Walker (Marie)  
    Caroline O'Connor (Nini Legs in the Air)  
    Christine Anu (Arabia)  
    Natalie Mendoza (China Doll)  
    Lara Mulcahy (Môme Fromage)  
    David Wenham (Audrey)  
    Kylie Minogue (The Green Fairy [Singing voice of The Green Fairy])  
    Ozzy Osbourne (Voice of the Green Fairy)  
    Deobia Oparei (Le Chocolat)  
    Linal Haft (Warner)  
    Keith Robinson (Le Petomane)  
    Peter Whitford (Stage manager)  
    Norman Kaye (Satine's doctor)  
    Arthur Dignam (Christian's father)  
    Carole Skinner (Landlady)  
    Jonathan Hardy (Man in the Moon)  
    Placido Domingo (Voice of Man in the Moon)  
    Kirüna Stamell (La Petite Princesse)  
    Anthony Young (Orchestra member)  
    Dee Donavan (Character rake)  
    Johnny Lockwood (Character rake)  
    Don Reid (Character rake)  
    Tara Morice (Prostitute)  
    Daniel Scott (Absinthe drinker/Guitarist)  
  Montmartre dance team: Veronica Beattie    
    Lisa Callingham    
    Rosetta Cook    
    Fleur Denny    
    Kelly Grauer    
    Jaclyn Hanson    
    Michelle Hopper    
    Fallon King    
    Wendy McMahon    
    Tracie Morley    
    Sue-Ellen Shook    
    Jenny Wilson    
    Luke Alleva    
    Andrew Aroustian    
    Stephen Colyer    
    Steven Grace    
    Mark Hodge    
    Cameron Mitchell    
    Deon Nuku    
    Shaun Parker    
    Troy Phillips    
    Rodney Syaranamual    
    Ashley Wallen    
    Nathan Wright    
  Paris dance team: Susan Black    
    Nicole Brooks    
    Danielle Brown    
    Anastacia Flewin    
    Fiona Gage    
    Alex Harrington    
    Camilla Jakimowicz    
    Rochelle Jones    
    Caroline Kaspar    
    Mandy Liddell    
    Melanie Mackay    
    Elise Mann    
    Charmaine Martin    
    Michelle Wriggles    
    Michael Boyd    
    Lorry D'Ercole    
    Michael Edge    
    Glyn Gray    
    Craig Haines    
    Stephen Holford    
    Jamie Jewell    
    Jason King    
    Ryan Males    
    Harlin Martin    
    Andrew Micallef    
    Jonathan Schmölzer    
    Bradley Spargo    
  Tabasco Brothers: Joseph "Pepe" Ashton    
    Jordan Ashton    
    Marcos Falagan    
    Mitchel Falagan    
    Chris Mayhew    
    Hamish McCann    
    Adrien Janssen    
    Shaun Holloway    
    Darren Dowlut (Cocoliscious Brother)  
    Dennis Dowlut (Cocoliscious Brother)  
    Pina Conti (La Ko Ka Chau)  
    Nandy McClean (Twin)  
    Maya McClean (Twin)  
    Patrick Harding-Irmer (Waiter)  
    Albin Pahernik (Waiter)  
    Aurel Verne (Waiter)  
    Kip Gamblin (Latin dancer)  

Summary: In 1900, young English poet Christian sits in his room in the Montmartre district of Paris and begins to write about his love affair with Satine, the star of the notorious Moulin Rouge nightclub: A year earlier, the idealistic Christian ignores his father’s advice and moves to Montmartre to join the Bohemian revolution that has swept through Europe. Eager to write about truth, beauty and freedom, but above all else, love, Christian realizes that he cannot because he has never been in love. At that moment, an Argentinean, unconscious from a bout of narcolepsy, crashes through Christian’s ceiling. The Argentinean is joined by his friends--Henri de Toulouse-Lautrec, the Doctor, Audrey and Satie--who are rehearsing Spectacular, Spectacular , a musical play espousing their Bohemian ideals. The group persuades Christian to stand in for the Argentine, and when Christian surprises them with his talent, Toulouse suggests that he write the play with Audrey. Audrey leaves in a huff, but the remaining Bohemians persuade Christian that despite his inexperience, he must write their play, which will be staged at the Moulin Rouge. In order to persuade Harold Zidler, the club’s impresario, to hire Christian, Toulouse schemes to get Christian a private audience with Satine, who is known as “The Sparkling Diamond.” To stiffen Christian’s resolve, Toulouse plies him with absinthe, and, fueled by the hallucinogen, Christian enters the Moulin Rouge. Dancers such as Nini Legs in the Air, Arabia, China Doll and Môme Fromage take the stage, and Christian joins the throng of wildly gyrating men. Christian is awestruck by Satine’s entrance as she is lowered from the rafters on a trapeze, and while she performs, Zidler whispers to her that the wealthy Duke of Monroth is in the audience. Satine, a courtesan, is fearless in her determination to seduce the Duke and obtain his help in becoming a legitimate actress, but mistakes Christian for the real duke. Toulouse sneaks Christian into Satine’s boudoir, which is shaped like a giant elephant, and there, Christian recites poetry to the courtesan. Satine is baffled by his shy reaction to her attempted seduction, but when Christian sings a song about his feelings for her, the couple fall in love. As they are embracing, however, Satine learns that Christian is merely one of Toulouse’s penniless protégés. As she attempts to usher Christian out, Zidler approaches with the Duke, and Satine is forced to hide Christian. The Duke is mystified by Satine’s erratic behavior, but is so consumed by lust that he is swayed by her repetition of Christian’s poem. When Satine begins to make love to the Duke, however, a glare from Christian persuades her to throw the Duke out with a promise to consummate their relationship on the show’s opening night. Unknown to Satine, she is suffering from consumption, and the exertion causes her to collapse. The Duke re-enters to find Satine in Christian’s arms, and it is only through the Bohemians’ quick action that she is able to persuade him that they are rehearsing Spectacular, Spectacular . After convincing the Duke to invest in the show, which tells the story of a Hindu courtesan who must chose between a penniless sitar player and a rich maharajah, the Bohemians celebrate, while Christian is preoccupied by thoughts of Satine. Christian returns to Satine’s boudoir, and although she protests that she was acting when she proclaimed her love for him, she succumbs to his charming words. The next morning, the Duke demands that in exchange for his financial backing, Satine be bound to him exclusively, and that Zidler put up the deed to the Moulin Rouge as security. Zidler reluctantly agrees, and so begins an intense and happy period of rehearsals. While continuing to tempt him, Satine eludes the Duke’s advances in order to spend time with Christian, always on the pretext of working. Meanwhile, Toulouse, who is to play the magical sitar, struggles to learn his one line: “The greatest thing you’ll ever learn, is just to love, and be loved in return.” After several weeks, the Duke grows impatient and warns Zidler that if he cannot possess Satine soon, he will depart. As Zidler cajoles the Duke to stay, he spots Satine and Christian kissing, and promises that Satine will come to the Duke that night. After Christian plans a rendezvous with Satine for that night, he leaves, and Zidler storms up to Satine, ordering her to end her relationship with the writer. Satine collapses, however, and while Christian and the Duke wait for her, she languishes under a doctor’s care. Zidler is able to persuade the Duke that Satine, anxious to come to him “like a virgin,” is confessing her sins to a priest, but after he returns home, Zidler learns that Satine is dying. The next morning, the jealous Christian has difficulty accepting Satine’s explanations, and she attempts to end their affair. Christian promises to control his jealousy, however, and composes a song to signal that they will always love each other, “come what may.” Swept away by Christian’s passion, Satine relents, although during a rehearsal, the envious Nini hints to the Duke about Satine’s romance, which is illustrated in the show when the courtesan chooses the sitar player over the maharajah. The Duke then demands that the ending be changed, and in order to protect her friends, Satine agrees to dine with him. Christian pleads with Satine not to sleep with the Duke, but she reminds him of their vow to love each other come what may, then leaves. While the entertainers wait at the club, the Duke lavishes a diamond necklace on Satine and agrees that Zidler can keep the show’s “fairy tale” ending. While standing on the balcony, however, Satine sees Christian in the street and cannot bear to have sex with the Duke. The angry Duke’s attempt to rape Satine is forestalled by a blow from Le Chocolat, one of the club’s performers, who takes Satine to Christian. While Satine and Christian are planning to run away, the Duke warns Zidler that his servant, Warner, will kill Christian if Satine sees him again. When Satine returns to the Moulin Rouge to pack, Zidler tells her of the Duke’s threat, and when that does not stop her, informs her that she is dying. Heartbroken, Satine agrees that the only way to save Christian is to hurt him, and so lies to him that she is choosing the Duke. Despite her failing health, Satine goes on with the show, while Christian, determined to learn the truth, sneaks into the club. Christian confronts Satine and demands that he be able to pay her, like her other customers, and follows her backstage. Just as Warner is about to shoot Christian, the curtain rises and Christian and Satine find themselves onstage. Christian tosses Satine to the ground and throws money at her, then tells the Duke that she belongs to him. As Christian walks away, however, Toulouse remembers his line and shouts it out. The weeping Satine then begins to sing their love song, and Christian rejoins her onstage. The audience roars with approval as the lovers embrace, and Warner’s attempt to shoot Christian is foiled by a dancer. The Duke seizes the pistol but is punched by Zidler and leaves. After the curtain falls, Satine collapses, and as she dies, makes the sobbing Christian promise to write their story. Back at his room, Christian concludes that after overcoming his grief, he was inspired to write the story of their love, a love that will live forever. 

Production Company: Bazmark Films  
Distribution Company: 20th Century Fox Film Corp. (A News Corporation Company)
Director: Baz Luhrmann (Dir)
  Steve E. Andrews (1st asst dir)
  Naomi Enfield (1st asst dir, Mocon/Miniatures unit)
  Jennifer Leacey (2d asst dir)
  Deb Antoniou (2d 2d asst dir)
  Paul Sullivan (3d asst dir)
Producer: Martin Brown (Prod)
  Baz Luhrmann (Prod)
  Fred Baron (Prod)
  Catherine Knapman (Co-prod)
  Steve E. Andrews (Assoc prod)
  Catherine Martin (Assoc prod)
Writer: Baz Luhrmann (Wrt)
  Craig Pearce (Wrt)
Photography: Donald M. McAlpine (Dir of photog)
  Steve Dobson (Dir of photog, Mocon/Minatures unit)
  Calum McFarlane (Cam op)
  Darren Keogh (Op, Mocon/Miniatures unit)
  Patrick McArdle (Focus puller, main unit/Steadicam)
  Frank Hruby (Focus puller, Mocon/Miniatures unit)
  Steve Mathis (Chief lighting tech)
  Paul Thompson (Key grip)
  Michael Taylor (Video split op)
  Brad Shield (B cam op/Steadicam op)
  Damian Wyvill (B cam focus puller)
  Marc Spicer (C cam op)
  Matthew Toll (Main unit cam asst/C cam focus puller)
  Luke Nixon (Main unit clapper loader)
  Jason Binnie (B cam clapper loader)
  Lucinda Van De Berkt (Main unit cam truck loader)
  Cameron Morley (Video dept asst)
  Paul Johnstone (Gaffer)
  Robert Burr (Best boy electrics)
  Peniaku 'Peni' Loloa (Lighting tech)
  Graeme Cook (Lighting tech)
  Matt Clyde (Lighting tech)
  Matthew Bolin (Lighting tech)
  Greg Allen (Lighting tech)
  Greg Little (Lighting tech/Dimmer board op)
  Grant Neutroski (Lighting tech/Dimmer board op)
  Simon Lee (Rigging chief lighting tech)
  Iain 'Strapper' Mathieson (Rigging best boy)
  Mathew Buchan (Rigging best boy)
  Moses Fotofili (Leading hand)
  Watson Hudgens (Rigging lighting tech)
  John Ellard (Rigging lighting tech)
  Craig Knight (Rigging lighting tech)
  Grant Wilson (Rigging lighting tech)
  Sharon Nind (Rigging lighting prod asst)
  Mick Vivian (Dolly grip)
  Guy Bowden (Best boy grip)
  Paul Anderson (Asst grip)
  Alan Handsaker (Asst grip)
  Troy Paschini (Asst grip)
  Paul Gray (Asst grip)
  Mal Booth (Asst grip)
  Toby Copping (Grip B cam)
  Matthew Copping (Asst grip B cam)
  Paul Micallef (Grip/Cam remote tech)
  Graeme Dew (Rigging coord)
  Kristian Beazley (Rigging leading hand)
  Rod Scott (Rigger)
  Carly Thomas (Rigger)
  Mark Wlodarczyk (Rigger)
  Brian Osmond (Rigging welder)
  Sue Adler (Unit stills photog)
  Video 8 Broadcast PTY Ltd (Telecine)
  Damon Parry (Telecine op)
  Panavision Lighting Asia Pacific PTY Ltd (Lighting equipment)
Art Direction: Catherine Martin (Prod des)
  Ian Gracie (Supv art dir)
  Ann Marie Beauchamp (Art dir)
  Prisque Salvi (Asst art dir)
  Nikki Di Falco (Asst art dir)
  Jacinta Leong (Asst art dir)
  Sarah Light (Asst art dir)
  Deborah Riley (Asst art dir)
  Jennifer O'Connell (Art dept coord)
  Anna Young (Asst to art dept coord)
  Appellee McLeod (Art dept accountant)
  Katerina Stratos (Asst des to Catherine Martin)
  Aaron Marsden (Set des)
  Andrew Powell (Set des)
  Ed Cotton (Set des)
  Louise Rooney (Set des)
  Michael Turner (Set des)
  Martin Ash (Set des)
  David Russell (Prod illustrator)
  Colin Dent (Draughtsman)
  Michael Bell (Draughtsman)
  Beth Pickworth (Senior graphic des)
  Silvana Azzi (Graphic des)
  Sarah Salkild (Asst to Catherine Martin)
  Sonoma Message (Asst to Catherine Martin)
  Tony Campbell (Art dept runner, dressing)
  Andrei Meintjes (Art dept runner)
  Michael Murphy (Art dept runner)
  Deborah Eldred (Art dept asst)
  Jo Beikoff (Buyer/Dresser)
  Sara Mathers (Buyer/Dresser)
  Karen Murphy (Buyer/Dresser)
  Gavin Greenstone (Asst buyer)
  Matt Milgate (Asst buyer)
  Christopher Bruce (Asst buyer)
  Louise Brown (Set dressing asst)
  Yann Vignes (Dressing props maker)
  Bert Burless (Asst dressing props maker)
  Paul Matthews (Art dept elec)
  Tony Lennoy (Art dept elec)
  Phillip Landers (Art dept elec)
  Peter Cunningham (Art dept elec)
  Bill Matthews (Art dept elec)
Film Editor: Jill Bilcock (Ed)
  Jane Moran (Addl ed)
  Rochelle Oshlack (Supv 1st asst ed)
  Basia Ozerski (1st asst ed, film)
  Kristine Rowe (1st asst ed, digital)
  Jonathan Redmond (1st asst ed, digital)
  Jason Ballantine (1st asst ed, digital)
  Bin Li (1st asst ed, digital)
  Tristan Brighty (1st asst ed, U.S. post prod)
  Luke Doolan (2d asst ed)
  Paula Lourie (Conform asst ed)
  Jenny Hicks (Conform asst ed)
  David Burrows (Conform asst ed)
  Pam Barnetta (Conform asst ed)
  William Browne (Ed dept asst)
  Lana Rowe (Ed dept asst)
  Leoni Strickland (Asst to Jill Bilcock)
  Patrick Marion Gregston (Asst ed, U.S. post prod)
  Alejandro Valdes-Rochin (Apprentice ed, U.S. post prod)
  Kristopher Kasper (Editorial, Asylum Visual Effects)
  Arthur Cambridge (Grading)
  Soundfirm Australia (Pic, sd & mixing facility)
  Chris Rowell Productions (Neg cutting)
Set Decoration: Brigitte Broch (Set dec)
  Lisa Thompson (Asst set dec)
  Robert 'Moxy' Moxham (Standby props)
  Beverley Dunn (Prop master)
  Peter Kodicek (Asst standby props)
  Mardi Borrack (Asst standby prop)
  Katie Sharrock (Asst prop master)
  Jan Edwards (Props buyer)
  Bill Goodes (Asst props buyer)
  Tony Lees (Supv sculptor)
  David Chazan (Sculptor)
  Guido Helmstetter (Sculptor)
  John Searle (Sculptor)
  Benjamin Beikoff (Asst sculptor)
  Brenden Murphy (Asst sculptor)
  Blaze Krstanoski-Blazeski (Asst sculptor)
  Samantha Whittingham (Asst sculptor)
  Genevieve Blewitt (Drapist/Soft furnishings)
  Helen Stewart (Asst soft furnishings)
  Liz Allen (Asst soft furnishings)
  Susanne 'Mouse' Head (Asst soft furnishings)
  Greg Hajdu (Const mgr)
  Mark Jones (Asst const mgr)
  Peter Coy (Foreman/Set builder)
  Eugene Land (Foreman/Set builder)
  Murray Simmance (Junior foreman/Set builder)
  Sean Ahern (Leading hand/Set builder)
  Emily Saunders (Const admin)
  Peter Forbes (Const buyer)
  Ann McKessar (Const buyer)
  Richard Crowe (Standby carpenter)
  Martin Scurrah (Tool tech)
  Matt Foster (Set builder/Asst electrics)
  Tekimo Aratema (Set builder)
  Bob Arthur (Set builder)
  Nathan Ayers (Set builder)
  Matthew Baldwin (Set builder)
  Mark Battaglene (Set builder)
  Ron Martin (Set builder)
  Sean Scroggie (Set builder)
  Greg Tafe (Set builder)
  Ben Turner (Set builder)
  Andrew Valentine (Set builder)
  Robert Blance (Set builder)
  Christopher Colwell (Set builder)
  Darren Fieldhouse (Set builder)
  Scott Graham (Set builder)
  Steven Kezic (Set builder)
  Andrew Macintyre (Set builder)
  Max Dittrich (Set builder)
  Danny Burnett (Set builder)
  Josh Bush (Set builder)
  Jake Clifton (Set builder)
  William Dartnell (Set builder)
  Bradley Diebert (Carpenter)
  Ben Foley (Carpenter)
  Yarren Henwood (Carpenter)
  Mark Panucci (Carpenter)
  Bernadette Sexton (Carpenter)
  Michael Owen (Carpenter)
  Kevin Sainsbury (Trade asst)
  John O'Brien (Trade asst)
  John Cross (Trade asst)
  Wayne Porter (Steelwork foreman)
  Rodney Nash (Leading hand steelworker)
  Carlo Capolupo (Steelworker)
  Peter Armstrong (Steelworker)
  Louis Macdonald (Steelworker)
  Allan Earl (Steelworker)
  Lester Hope (Steelworker)
  Kimble Hilder (Head plasterer)
  Douglas Hawkins (Plasterer)
  Antony Greenhill (Plasterer)
  Simon Bowland (Asst plasterer)
  Justin Bles (Const rigger)
  Dominic Connor (Const rigger)
  Grant Fletcher (Const rigger)
  Tim Loughlin (Head stagehand)
  Andrew McDonell (Stagehand)
  Mike Fagan (Stagehand)
  James Gennat (Stagehand)
  William Manning (Stagehand)
  Diana Gledhill (Stagehand)
  Kurt Kelly (Stagehand)
  Rohan Dawson (Stagehand)
  Peter Collias (Head scenic artist)
  Martin Bruveris (Scenic artist)
  Ian Richter (Scenic artist)
  Bill Undery (Scenic artist)
  Alan Brown (Paint foreman)
  Janet Seppelt (Scenic buyer)
  Guy Allain (Set finisher)
  Kaye Freeman (Set finisher)
  William Kensell (Set finisher)
  Gaetano Lagana (Set painter)
  Steve Warren (Set painter)
  Chris Whittle (Set painter)
  Karen Hedley (Painter)
  Linda Sang (Painter)
  Matt Jordin (Painter)
  Glenn 'Buddy' Neal (Painter)
  Michael Saker (Painter)
  Tony Piliotis (Standby painter)
  Kylie Dempsey (Brush hand)
  Nayana Robertson (Brush hand)
  Belinda Theuns (Brush hand)
Costumes: Catherine Martin (Cost des)
  Angus Strathie (Cost des)
  Eliza Godman (Cost supv)
  Julie Barton (Cost set supv)
  Ross Hall (Cost des asst)
  Pete O'Halloran (Cost standby)
  Tessa Atherton (Cost dept coord)
  Robyn Elliott (Extras' cost coord)
  Victoria Collison (Accessories coord/Extras' stylist)
  Gill McKinlay (Cost dept accountant)
  Robina Osborne (Cost dept accountant)
  Siriporn 'Goi' Wongwatawat (Asst cost standby)
  Karin Thorn (Head cost buyer)
  Lisa Marie Javelin (Cost buyer)
  Sally Sharpe (Cost buyer)
  Debbie Millington (Cost fabrics coord/Cost asst)
  Julie Bryant (Head costumier)
  John Papadopoulos (Costumier to Ms. Nicole Kidman)
  Sally Steele (Cost standby to Ms. Nicole Kidman)
  Terry Thorley (Cost cutter)
  Sheryl Pilkinton (Cost cutter)
  Judith Meschke (Cost cutter)
  Cheryl Pike (Cost cutter)
  Jennifer Cammell (Cost cutter)
  Gloria Bava (Menswear cost cutter)
  Marouska Blyszurak (Menswear cost cutter)
  John Malloy (Menswear cost cutter)
  Tony Bonicci (Tailor)
  Gaye Lee (Tailor)
  Patricia Barker (Tailor)
  Jason Gibaud (Head of cost art finishing)
  Kym Bywater (Cost jeweller)
  Rosie Boylan (Senior milliner)
  Rick McGill (Milliner)
  Christine Yarker (Milliner)
  Cheryl Rounsefell (Asst milliner)
  Michelle Fallon (Cost art finisher)
  Melinda Doring (Cost art finisher)
  Nicola McIntosh (Cost art finisher)
  Jodie Morrison (Shoe coord)
  Donna May Bolinger (Shoemaker to Ms. Nicole Kidman and Ewan McGregor)
  Martin Heusel (Extras' cost cutter)
  Fiona Atherton (Cost maker)
  Juli Herlihy (Cost maker)
  Catherine Overgaard (Cost maker)
  Sandra Bardwell (Cost maker)
  Margarete Oral (Cost maker)
  Margaret Wright (Cost maker)
  Celinda Alvarado (Cost maker)
  Julie Beach (Cost maker)
  Musette Molyneaux (Cost maker)
  Philip Moore (Cost maker)
  Lindy Whittaker (Cost maker)
  Gino Bonazinga (Cost maker)
  Melissa Thornton (Cost maker)
  Justine 'Jay' Brien (Cost maker)
  Monique Donaldson (Cost maker)
  Tracey Gardner (Cost maker)
  Margot Koudstaal (Cost maker)
  Suzannah McRae (Cost maker)
  Rebecca Tancred (Cost maker)
  Alice Vargas (Cost maker)
  Loretta Olsson (Cost maker)
  Fiona Nicolls (Dancers' cost standby)
  Ivana Daniele (Dancers' cost standby asst)
  Paul Flanagan (Dancers' cost asst)
  Manuela Masoch (Extras' cost standby and asst)
  Alexander Barton (Extras' cost asst)
  Dan Owen (Extras' cost asst)
  Natalie Gardner (Extras' cost asst)
  Tracy James (Cost digital artist)
  Tim Lion (Cost runner)
  Tanya Phegan (Cost coord asst)
  Peter Bevan (Development costumier)
  Anthony Phillips (Development costumier)
  Canturi Jewels (Santine's diamond neckpiece des and crafted by)
  Rosy Blue (Diamonds selected from)
  Kym Bywater (Cost jewelry)
Music: Craig Armstrong (Orig score)
  Marius DeVries (Mus dir/Addl score)
  Anton Monsted (Mus supv and exec mus prod)
  Laura Ziffren (Co-mus supv)
  Simon Leadley (Supv mus ed)
  Tim Ryan (Addl mus ed)
  Stephen Lotwis (Mus ed, U.S. post prod)
  Lee Scott (Mus ed, U.S. post prod)
  Christine Luethje (Coord mus ed, U.S. post prod)
  Danielle Wiessner (Mus cont/Vocal ed)
  Sondra Clarke (Mus dept prod asst)
  Daniel Schwarze (Mus asst)
  Andrew Ross (Singing coach/On set mus dir)
  Amanda Colliver (Vocal coach)
  Chris Elliott (Addl score/Mus arr/Addl cond)
  Steve Sharples (Addl score/Mus arr/Mus programmer)
  Craig Armstrong (Mus arr)
  Steve Sidwell (Swing arr)
  Matt Dunkley (Addl mus arr)
  Cecilia Weston (Orch cond, London)
  Christopher Gordon (Orch cond, Melbourne and Sydney)
  Isobel Griffiths (Orch contractor, London)
  Barb Glaser (Melbourne Symphony Orch contractor)
  Hartl Music Enterprises (Orch contractor, Sydney)
  Gavyn Wright (Orch leader, London)
  Jenny O'Grady (Choir master)
  Nick Mera (Mus preparation)
  Matt Dunkley (Mus preparation)
  Peter Mapleson (Mus preparation, Melbourne and Sydney)
  Laura Bishop (Mus preparation, Melbourne and Sydney)
  Geoff Foster (Mus rec and mix eng)
  Andy Bradfield (Addl mixer)
  Brad Haehnel (Addl mixer)
  Simon Franglen (Vocal prod and eng)
  John Bailey (Asst eng)
  Chris Barrett (Asst eng)
  Nick Cevenero (Asst eng)
  Ricky Graham (Asst eng)
  Jake Jackson (Asst eng)
  Clare Manhood (Asst eng)
  Dave Morgan (Asst eng)
  Neale Ricotti (Asst eng)
  Jepson Staral (Asst eng)
  Jason Wormer (Asst eng)
  Stephen Hilton (Mus programmer)
  Pete Davis (Mus programmer)
  Marty Frasu (Mus programmer)
  Alexis Smith (Mus programmer)
  Ryan Freeland (Mus programmer)
  Greg Morgenstein (Mus programmer)
  Shelly Hogan (Mus clearance)
  Christo Curtis (Rec eng, Melbourne and Sydney)
  Richard Lush (Rec eng, Melbourne and Sydney)
  Paul McKay (Mus coord)
  Josh G. Abrahams (Mus development ed/Mus programmer)
  Trackdown Digital (Mus ed)
Sound: Guntis Sics (Sd rec)
  Roger Savage (Sd supv/Re-rec mixer, Australia)
  David Pearson (Boom op)
  Stuart Waller (Sd asst)
  Brent Burge (Supv sd eff ed)
  Gareth Vanderhope (Spec sd eff ed)
  Linda Murdoch (Sd eff ed)
  Alex Wong (Sd eff ed)
  Antony Gray (Supv dial ed)
  Livia Ruzic (Dial ed)
  Nada Mikas (Dial asst ed)
  Andrew Neil (Re-rec mix asst/Ed asst)
  Michael Thompson (Temp mix asst)
  Blair Slater (Foley rec)
  Mario Vaccaro (Foley walker)
  Andy Nelson (Re-rec mixer, U.S.)
  Anna Behlmer (Re-rec mixer, U.S.)
  Steve Burgess (Foley mixing, Australia)
  Charleen Richards (ADR mixer, U.S.)
  John A. Larsen (Consulting sd supv, U.S. post prod)
  Robert Renga (Rec, U.S. post prod)
  Craig 'Pup' Heath (Rec, U.S. post prod)
  David Lucarelli (ADR rec, U.S. post prod)
  Matt Patterson (Robert Wise Stage rec, U.S. post prod)
  Ron Evans (Robert Wise Stage rec, U.S. post prod)
  Michael Axinn (Dial/ADR ed, U.S. post prod)
  Susan Shackelford (Dial/ADR ed, U.S. post prod)
  Skip Longfellow (Asst sd ed, U.S. post prod)
  Denis St. Amand (Re-rec eng, U.S. post prod)
  Stephen Kimball (Robert Wise Stage re-rec eng, U.S. post prod)
Special Effects: Chris Godfrey (Visual eff supv)
  Holly Radcliffe (Visual eff prod)
  Tom Davies (Models and miniatures supv)
  James Leng (Modelshop foreman)
  Gary Cameron (Senior model maker)
  Brett Harrison (Senior model maker)
  Richard A. Harrison (Senior model maker)
  Dion Horstmans (Senior model maker)
  Peter Hurst (Senior model maker)
  Roger Gillespie (Senior model maker)
  William Demery (Senior model maker)
  David Scott (Model maker)
  Anthony Voevodin (Model maker)
  Reuben Hill (Model maker)
  Gordon Hobkirk (Model maker)
  Anna Marchant (Model maker)
  Jo-Anne Parkin (Model maker)
  Darren De Costa (Senior model maker/Sculptor)
  Sophie Buttner (Senior model maker/Sculptor)
  William Charly Wrencher (Modelshop buyer/Coord)
  Nicola McIntosh (Art finisher)
  Craig Fison (Miniatures props)
  Garry Gaffney (Gen asst prop maker)
  Brian Cox (Spec eff)
  David Hardie (Senior spec eff tech)
  Walter Van Veenendaal (Senior spec eff tech)
  James Howe (Spec eff tech)
  Matt Villa (Visual eff ed)
  Shannon Leigh Olds (Visual eff ed)
  Rob Yamamoto (Post eff guy, U.S. post prod)
  Scarlet Letters (End credits)
  Custom Film Effects (End credits)
  Bazmark Design (Title des)
  Alexandra Bolton (Title des)
  Daniel Schwarze (Title des)
  Silvana Azzi (Title des)
  Zareh Nalbandian (Visual eff exec prod, Animal Logic Film)
  Murray Pope (Visual eff exec prod, Animal Logic Film)
  Fiona Crawford (Visual eff line prod, Animal Logic Film)
  Melanie Ritchie (Visual eff line prod, Animal Logic Film)
  Ben Caine (Visual eff coord, Animal Logic Film)
  Andy Brown (Leading visual eff art dir, Animal Logic Film)
  Simon Whiteley (Visual eff art dir/Matte painter, Animal Logic Film)
  Belinda Bennetts (Visual eff art dir, Animal Logic Film)
  Grant Freckelton (Concept artist/Matte painter, Animal Logic Film)
  Kirsty Millar (Supv inferno artist, Animal Logic Film)
  Charlie Armstrong (Supv cineon compositor, Animal Logic Film)
  Dave Morley (Senior inferno artist, Animal Logic Film)
  Colin Alway (Compositor, Animal Logic Film)
  Aaron Barclay (Compositor, Animal Logic Film)
  Mark Barber (Compositor, Animal Logic Film)
  Sonia Calvert (Compositor, Animal Logic Film)
  Morgane Furio (Compositor, Animal Logic Film)
  Krista Jordan (Compositor, Animal Logic Film)
  Karen Klein (Compositor, Animal Logic Film)
  Lisa Moore (Compositor, Animal Logic Film)
  Catherine Nelson (Compositor, Animal Logic Film)
  Stuart Partridge (Compositor, Animal Logic Film)
  Robert Sandeman (Compositor, Animal Logic Film)
  Kat Szuminska (Compositor, Animal Logic Film)
  George Zwier (Compositor, Animal Logic Film)
  Guy Griffiths (Dir of R&D, Animal Logic Film)
  Chris Bone (Head R&D programmer, Animal Logic Film)
  Justen Marshall (Prod programmer, Animal Logic Film)
  Phillip Lang (Tech asst, Animal Logic Film)
  Andrew McDougall (Tech asst, Animal Logic Film)
  Dan Breckwoldt (Tech asst, Animal Logic Film)
  Chris Swinbanks (Film I/O supv, Animal Logic Film)
  Mark Harmon (Scanning/Rec op, Animal Logic Film)
  John Pope (Scanning/Rec op, Animal Logic Film)
  Nathan McGuinness (Visual eff exec prod and supv, Asylum Visual Effects)
  Kathy Chasen-Hay (Visual eff prod, Asylum Visual Effects)
  Emma McGuinness (Exec prod, Asylum Visual Effects)
  Marty Taylor (Lead inferno artist, Asylum Visual Effects)
  Kevin May (Inferno artist, Asylum Visual Effects)
  Phil Brennan (Inferno artist, Asylum Visual Effects)
  Pierre La Querre (Inferno artist, Asylum Visual Effects)
  Jesper Nybore (Inferno artist, Asylum Visual Effects)
  Mike Campbell (Inferno asst, Asylum Visual Effects)
  Raphael Mosley (Inferno asst, Asylum Visual Effects)
  Tommy Hooper (Dir of technology, Asylum Visual Effects)
  Justin Domingues (Data wrangler, Asylum Visual Effects)
  Bill Laverty (Eng, Asylum Visual Effects)
  Cosmas Paul Bolger Jr. (Visual eff supv/Prod, Digital Filmworks)
  Marco Paolini (Senior compositor, Digital Filmworks)
  Rob Delicata (Motion control prod, Mill Motion Control)
  Malcolm Wooldridge (Motion control cam, Mill Motion Control)
  Digna Nigoumi (Motion control op, Mill Motion Control)
  David Paul Dozoretz (Pre visualisation supv, Previsualisation by Persistence of Vision)
  Cinesite (Addl visual eff/Laser film rec)
  Peter Moc (Rec op)
  Adrian Colbert (Rec op)
  Kimberly Shriver Covate (Operation mgr digital imaging)
  Glen Gustafson (Rec supv)
  Josh Roberts (Rec coord)
  Ken Phelan (Opticals)
Dance: John O'Connell (Choreog)
  Sherree Da Costa (Asst choreographer)
  Pamela French (Asst choreographer)
  Paul McKay (Dance casting/Coord)
  Esther Rodewald (Choreography dept coord)
Make Up: Maurizio Silvi (Key makeup des)
  Aldo Signoretti (Key hair des)
  Lesley Vanderwalt (Makeup & hair dept coord/Makeup artist)
  Vincenzo Mastrantonio (Makeup artist)
  Wizzy Molineaux (Makeup)
  Jen Stanfield (Makeup)
  Margaret Myer (Makeup)
  Elka Wardega (Makeup)
  Jane Atherton (Makeup)
  Margaret Aston (Addl makeup)
  Robyn Austin (Addl makeup)
  Peggy Carter (Addl makeup)
  Maria Lo Presti (Addl makeup)
  Chiara Tripodi (Addl makeup)
  Simone Wajon (Addl makeup)
  Erica Wells (Addl makeup)
  Nadine Wilkie (Addl makeup)
  Ferdinando Merolla (Hairstylist)
  Giorgio Gregorini (Hairstylist)
  Lynn Wheeler (Hairdresser)
  Wendy De Waal (Hairdresser)
  Kylie Marr (Hairdresser)
  Kylie Clarke (Wig dept)
  Suzanne Meaney (Wig dept)
  Katherin Birch (Addl hair)
  Adele Durno (Addl hair)
  Jason Gardner (Addl hair)
  Mary Georgiou (Addl hair)
  Teresa Hinton (Addl hair)
  Kerry Lee Jury (Addl hair)
  Patricia Newton (Addl hair)
  Zeljka Stanin (Addl hair)
  Studio Kite (Spec prostheses)
Production Misc: Ronna Kress (Casting)
  Chris King (Australian casting)
  Gabrielle Healy (Extras' casting dir)
  Jane Dawkins (Extras' casting supv)
  Derek "Dex" Tallo (Extras' casting asst)
  Mullinars Casting Consultants (Casting consultant--Australia)
  Kate Dowd (Casting consultant--UK/Europe)
  Christina No (Casting asst--Australia)
  Aaron Downing (Addl post prod supv)
  Catherine Knapman (Unit prod mgr)
  Tic Carroll (Unit mgr)
  Tigger Carroll (Unit asst)
  Andrew Hayes (Unit asst)
  Neil McMenemy (Unit asst)
  Paul "Dubsy" Watters (Exec asst to Baz Luhrmann)
  Sally Morgan (Exec asst to Baz Luhrmann, development)
  Jill Steele (Financial controller)
  Kevin R. Buxbaum (Financial controller)
  Jo Weeks (Scr supv)
  Samantha Smith (Set prod asst)
  Libby Sharpe (Prod coord)
  Edweana Wenkart (Post prod coord)
  Val Keller (Post prod coord, U.S. post prod)
  Daniel Read (Asst prod coord)
  Serena Rettenmaier (VFX and post prod asst)
  Samantha Jennings (Travel coord)
  Rehana Tofie (Travel/Post prod coord)
  Sophie Dick (Prod secy)
  Ellie Campbell (Prod secy)
  Edweana Wenkart (Exec asst to Martin Brown)
  Tika Burrows (Exec asst to Fred Baron)
  Anthony Allegre (LA asst to Fred Baron)
  Alice Lanagan (Asst to Ewan McGregor)
  Felicia Bushman (Asst to Ms. Nicole Kidman)
  Victoria Mielewska (Dialect coach)
  Sue Collins (Prod and post prod accountant)
  Christine Moran (Payroll accountant)
  Gabriella Nagy (Asst accountant)
  Tracy McKeown (Asst accountant)
  Catherine Smyth (Asst payroll accountant)
  Grahame Ware (Animal wrangler)
  Jacqueline Robertson (Unit nurse)
  Laurence Pettinari (1st aid officer)
  Annette Dugan (Physical therapist)
  Sotiri Sotiropoulos (Safety supv)
  Wayne Pleace (Safety supv)
  Who Dares (Security)
  Les Roberts (Security)
  Karl Christian (Security)
  Lindsay Cole (Security)
  Dion Hunt (Prod runner)
  Ben Steel (Prod runner)
  Duan Kereru (Ms. Nicole Kidman's driver)
  Dave Simpkins (Cast driver)
  Philip McDonell (Cast driver)
  Nicole Moon (Cast driver)
  Ron Wyndham (Cast driver)
  Mighty Bites (Caterer)
  Reza Mokhtar (Caterer)
  Maria Farmer (Unit pub)
  Twentieth Century Fox Studios (Post prod facilities provided by)
  Jacqui Livingston (Prod asst, Asylum Visual Effects)
  Ian Russell (Laboratory liaison)
  Olivier Fontenay (Laboratory liaison)
  Tri-Point Rigging Services (Rigging)
  Gillespies Crane Services (Access equipment)
Stand In: Guy Norris (Stunt coord)
  Lawrence Woodward (Addl stunt coord)
  Glenn Suter (Asst stunt coord)
  Jenny Wilson (Dance double)
  Prinnie Stevens (Dance double)
  Julian Lefcovitch (Acrobat double)
  Ben Palumbo (Acrobat double)
  Anthony Weigh (Voice double)
  Steve Balbi (Voice double)
  Deborah Boyce-Brennan (Stunts)
  Glenn Suter (Stunts)
  Damien Bradford (Stunts)
  Gavin Wild (Stunts)
  Ashley Fairfield (Stunts)
  Scott Gregory (Stunts)
  Tony Lynch (Stunts)
  Sotiri Sotiropoulos (Stunts)
  Ian Lind (Stunts)
  Nash Edgerton (Stunts)
  Greg Robinson (Stunts)
  John Walton (Stunts)
  Glenn Ruehland (Stunts)
  Brett Praed (Stunts/Stunt rigger)
  Paul Doyle (Stunt rigger)
  Tony Lynch (Stunt rigger)
  Gillian Statham (Stunt rigger)
  Miguel Lopez (Lighting stand-in/Action double)
  Kristie Bragg (Lighting stand-in)
  Simon Callaghan (Lighting stand-in)
  Mario Cristofoletti (Lighting stand-in)
Animation: Brett Feeney (3D supv, Animal Logic Film)
  David Dulac (Lead TD/Anim, Animal Logic Film)
  David Woodland (Des/Anim, Animal Logic Film)
  Ian Brown (3D senior anim, Animal Logic Film)
  Lindsay Fleay (3D senior anim, Animal Logic Film)
  Aidan Sarsfield (3D senior anim, Animal Logic Film)
  Chris Cooper (3D senior anim, Animal Logic Film)
  Craig Brown (3D anim, Animal Logic Film)
  Howard Fuller (3D anim, Animal Logic Film)
  Brian Kranz (3D anim, Animal Logic Film)
  Ben Malter (3D anim, Animal Logic Film)
  Steve Oakley (3D anim, Animal Logic Film)
  Ben Walsh (3D anim, Animal Logic Film)
  Mark Nanjo (2D artist, Asylum Visual Effects)
  Patrick Kavanaugh (2D artist, Asylum Visual Effects)
  Laurent Ben-Mimoun (2D artist, Asylum Visual Effects)
  Yuichiro Yamashita (3D artist, Asylum Visual Effects)
  Jeff Werner (2D/3D coord, Asylum Visual Effects)
  Edward Quirk (Senior 3D anim, Digital Filmworks)
  Andrew Bull (3D op, Mill Motion Control)
  Daniel Gregoire (Pre visualisation anim, Previsualsation by Persistence of Vision)
  Euisung Lee (Pre visualisation anim, Previsualisation by Persistence of Vision)
MPAA Rating: PG-13
Country: Australia and United States
Language: English

Music: Musical score includes portions of: “Gaite Parisienne,” arranged by Manuel Rosenthal, written by Jacques Offenbach; “Golden Bowls,” written and performed by Richard Karma Moffett, courtesy of Padma Tapes; “The Lonely Goatherd,” written by Richard Rodgers & Oscar Hammerstein II; “Nature Boy,” written by eden ahbez; “One Day I’ll Fly Away,” written by Will Jennings and Joe Sample; “Tanguera,” written by Marianito Mores; “Voyage to the Moon” and “Orpheus in the Underground,” written by Jacques Offenbach; “Your Song,” written by Elton John and Bernie Taupin.
Songs: “Nature Boy,” written by eden ahbez, performed by John Leguizamo, produced by BLAM, Josh G. Abrahams and Craig Armstrong; “Complainte de la Butte,” music by Georges Van Parys, lyrics by Jean Renoir, performed by Rufus Wainwright, produced by Michel Pepin and Rufus Wainwright, Rufus Wainwright performs courtesy of DreamWorks Records; “Children of the Revolution,” written by Marc Bolan, performed by Marius DeVries, produced by BLAM, Josh G. Abrahams and Marius DeVries; “The Sound of Music,” written by Richard Rodgers & Oscar Hammerstein II, performed by Ewan McGregor, produced by BLAM, Josh G. Abrahams and Marius DeVries; “Children of the Revolution,” written by Marc Bolan, performed by Ewan McGregor, Jacek Koman, John Leguizamo, Garry MacDonald, Kylie Minogue, Ozzy Osbourne and Matthew Whittet, produced by BLAM, Josh G. Abrahams and Marius DeVries, Kylie Minogue performs courtesy of Parlophone Records and Festival Mushroom Records, Ozzy Osbourne performs courtesy of Epic Records; “ZIDLER’S RAP (MEDLEY)” Featuring: “Zidler’s Rap,” written by Baz Luhrmann, Craig Pearce and Marius DeVries, performed by Jim Broadbent, produced by BLAM, Josh G. Abrahams and Marius DeVries; “Lady Marmalade,” written by Bob Crewe and Kenny Nolan, peformed by Christina Aguilera, Lil’ Kim, Mya and Pink, produced by Missy Elliott for Mass Confusion Productions, Inc. and Rockwilder for F-5 Productions, Inc., Christina Aguilera performs courtesy of the RCA Music Group, Lil’ Kim performs courtesy of Queen Bee Entertainment, Inc./Undeas/Atlantic Recording Corporation, Mya performs courtesy of A&M Records, Pink performs courtesy of LaFace Records; “Smells Like Teen Spirit,” written by Kurt Cobain, Chris Novoselic and Dave Grohl, produced by Danny Saber; and “Because We Can,” written by Norman Cook, performed and produced by Fatboy Slim, Fatboy Slim performs courtesy of Astralwerks/Skint Records; “SPARKLING DIAMONDS (MEDLEY)” Featuring: “Diamonds Are a Girl’s Best Friend,” written by Jule Styne & Leo Robin, performed by Nicole Kidman, Jim Broadbent, Natalie Mendoza, Lara Mulcahy and Caroline O’Connor, Natalie Mendoza performs courtesy of EMI Music Australia PTY (Limited); and “Material Girl,” written by Peter H. Brown and Robert S. Rans, performed by Nicole Kidman, Natalie Mendoza, Lara Mulcahy and Caroline O’Connor, Natalie Mendoza performs courtesy of EMI Music Australia PTY (Limited), produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “Rhythm of the Night,” written by Diane Warren, performed by Valeria, produced by BLAM, Josh G. Abrahams, Marius DeVries and Alexis Smith, Valeria performs courtesy of Records; “Diamond Dogs,” written by David Bowie, performed and produced by Beck, Beck performs courtesy of Geffen Records; “Meet Me in the Red Room,” music by Marius DeVries, lyrics by Amiel Daemion, performed by Amiel, produced by BLAM, Josh G. Abrahams and Marius DeVries, Amiel performs courtesy of Festival Mushroom Records; “Your Song,” written by Elton John and Bernie Taupin, performed by Ewan McGregor and Placido Domingo, produced by BLAM, Josh G. Abrahams, Craig Armstrong, Marius DeVries and Patrick Leonard; “THE PITCH (MEDLEY)” Featuring: “The Can Can from Orphée aux Enfers ”, music by Jacques Offenbach; “The Pitch,” lyrics by Baz Luhrmann and Craig Pearce; “The Sound of Music,” written by Richard Rodgers & Oscar Hammerstein II; and “Your Song,” written by Elton John and Bernie Taupin, performed by Nicole Kidman, Ewan McGregor, Jim Broadbent, Jacek Koman, John Leguizamo, Garry McDonald, Richard Roxburgh and Matthew Whittet, produced by BLAM, Josh G. Abrahams and Marius DeVries; “Children of the Revolution,” written by Marc Bolan, performed by Bono, Gavin Friday and Maurice Seezer, produced by Richard “Biff” Stannard, Julian Gallagher, Bono, Gavin Friday and Maurice Seezer, Bono performs courtesy of Universal-Island Records UK; “ONE DAY I’LL FLY AWAY (MEDLEY)” Featuring: “One Day I’ll Fly Away,” written by Will Jennings and Joe Sample, performed by Nicole Kidman; and “Your Song,” written by Elton John and Bernie Taupin, performed by Ewan McGregor, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “Love Is Like Oxygen,” written by Andrew Scott and Trevor Griffin; “Love Is a Many Splendored Thing,” written by Paul Francis Webster and Sammy Fain; “ELEPHANT LOVE MEDLEY” Featuring: “All You Need Is Love,” written by John Lennon and Paul McCartney; “I Was Made for Lovin’ You,” written by Paul Stanley, Desmond Child and Vini Poncia; “One More Night,” written by Phil Collins; “Pride (In the Name of Love),” music by U2, lyrics by Bono and The Edge; “Don’t Leave Me This Way,” written by Kenneth Gamble, Leon Huff and Cary Gilbert; “Silly Love Songs,” written by McCartney; “Up Where We Belong,” written by Jack Nitzsche, Buffy Sainte-Marie and Will Jennings; “Heroes,” written by David Bowie and Brian Eno; “I Will Always Love You,” written by Dolly Parton; and “Your Song,” written by Elton John and Bernie Taupin, performed by Nicole Kidman, Ewan McGregor and Placido Domingo, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “Gorecki,” written by Andrew Barlow and Louise Rhodes, performed by Nicole Kidman, produced by BLAM and Josh G. Abrahams; “Like a Virgin,” written by Billy Steinberg and Tom Kelly, performed by Jim Broadbent, Richard Roxburgh and Anthony Weigh, produced by BLAM, Josh G. Abrahams and Marius DeVries; “Come What May,” written by David Baerwald, performed by Nicole Kidman and Ewan McGregor, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “EL TANGO DE ROXANNE (MEDLEY)” Featuring: “Roxanne,” written by Sting, performed by Ewan McGregor, Jose Feliciano, Jacek Koman and Richard Roxburgh, Jose Feliciano performs courtesy of Universal Music Latino; “Le Tango du Moulin Rouge,” music by Marianito Mores, lyrics by Baz Luhrmann and Craig Pearce, performed by Ewan McGregor, Jose Feliciano, Jacek Koman and Richard Roxburgh, Jose Feliciano performs courtesy of Universal Music Latino; and “Come What May,” written by David Baerwald, performed by Nicole Kidman, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “Fool to Believe,” written by Baz Luhrmann, Craig Pearce, Marius DeVries and Craig Armstrong, performed by Nicole Kidman and Jim Broadbent, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “The Show Must Go On,” written by Freddie Mercury, Brian May, Roger Taylor and John Deacon, performed by Nicole Kidman, Jim Broadbent and Anthony Weigh, produced by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries; “HINDI SAD DIAMONDS (MEDLEY)” Featuring: “Chamma Chamma,” written by Sameer, performed by Alka Yagnik, “Chamma Chamma” licensed courtesy of Dashmesh International Ltd.; “Diamonds Are a Girl’s Best Friend,” written by Jule Styne & Leo Robin, performed by Nicole Kidman, produced by BLAM, Marius DeVries and Steve Sharples; and “The Hindi,” written by Steve Sharples, performed by John Leguizamo, produced by BLAM, Marius DeVries and Steve Sharples; “Nature Boy,” written by eden ahbez, performed by David Bowie and Massive Attack, produced by Robert “3D” Del Naja, Neil Davidge and Craig Armstrong, Massive Attack performs courtesy of Virgin Records American, Inc./Virgin Records Limited.
Composer: Paul Francis Webster
  Tom Kelly
  eden ahbez
  Craig Armstrong
  David Baerwald
  Andrew Barlow
  Marc Bolan
  David Bowie
  Peter H. Brown
  Desmond Child
  Kurt Cobain
  Phil Collins
  Norman Cook
  Bob Crewe
  Amiel Daemion
  John Deacon
  Marius DeVries
  Brian Eno
  Sammy Fain
  Kenneth Gamble
  Cary Gilbert
  Trevor Griffin
  Dave Grohl
  Oscar Hammerstein II
  Leon Huff
  Will Jennings
  Elton John
  John Lennon
  Baz Luhrmann
  Brian May
  Paul McCartney
  Freddie Mercury
  Richard Karma Moffett
  Marianito Mores
  Jack Nitzsche
  Kenny Nolan
  Chris Novoselic
  Jacques Offenbach
  Dolly Parton
  Craig Pearce
  Vini Poncia
  Robert S. Rans
  Jean Renoir
  Louise Rhodes
  Leo Robin
  Richard Rodgers
  Manuel Rosenthal
  Buffy Sainte-Marie
  Joe Sample
  Andrew Scott
  Steve Sharples
  Paul Stanley
  Billy Steinberg
  Jule Styne
  Bernie Taupin
  Roger Taylor
  The Edge
  Georges Van Parys
  Diane Warren
Source Text:

Copyright Claimant Copyright Date Copyright Number
Twentieth Century Fox Film Corporation 22/5/2001 dd/mm/yyyy PA0001033100

PCA NO: 37977
Physical Properties: Sd: Dolby Digital; Digitally THX Mastered; DTS Digital Sound in selected theatres
  Widescreen/ratio: Panavision
  Lenses/Prints: prints by DeLuxe; colour and prints by Atlab Australia; Kodak Motion Picture Film
  gauge: 35mm

Genre: Musical
Subjects (Major): Bohemians and bohemianism
  Love affairs
  Musical revues
  Moulin Rouge (Paris, France)
Subjects (Minor): Absinthe
  Attempted murder
  Beauty, Personal
  Can-can (Dance)
  Death and dying
  Mistaken identity
  Narcolepsy (Disease)
  Paris (France)--Montmartre
  Romantic rivalry
  Tango (Dance)
  Henri de Toulouse-Lautrec

Note: The film begins with a shot of Matthew Whittet, as the character “Satie,” standing on a stage in front of red velvet curtains in the nightclub Moulin Rouge. As the curtains open, Satie conducts an orchestra playing the famous Twentieth Century Fox fanfare over a shot of the company’s logo. The curtains close, then re-open to reveal the titles “Twentieth Century Fox Presents/A Bazmark Production/ Moulin Rouge! /Paris, 1990.” The titles are designed to look as if they were from an early black-and-white, silent movie. After the time and setting are established, the camera moves past the curtains and into the screen behind Satie. After a brief shot of John Leguizamo, as “Henri de Toulouse-Lautrec,” singing “Nature Boy,” a long traveling shot of Paris in miniature leads to a flowing shot through the streets of Montmartre and up into the rooms of “Christian.” The sequence begins in black-and-white, with an increasing color tint until it becomes full color with the appearance of Christian.
       The 28 May 2001 Newsweek review noted that Twentieth Century Fox originally objected to director Baz Luhrmann’s unusual presentation of its theme music, which was written in the 1930s by longtime Fox composer Alfred Newman. According to the film’s presskit, the shots of Paris were obtained using a collage created by Catherine Martin, the picture’s production and costume designer, and the streets of Montmartre were created in miniature in one-fifth or one-sixth scale, with photographs and film of real people digitally added.
       The acting and crew credits for the picture appear at the end of the film; the first time the actors are listed, without character names, Nicole Kidman, Ewan McGregor, John Leguizamo, Jim Broadbent and Richard Roxburgh receive individual title cards. The end credits begin with a card reading: “In Memorium, Leonard Luhrmann, 1934—1999.” Leonard Luhrmann, who died while the film was beginning production, was the father of director Baz Luhrmann. After the end credits, the Bohemian motto “This Story Is About Truth, Beauty, Freedom, But Above All, Love,” is flashed on the screen in stylized title cards. ["Bohemianism," a movement that began largely in Paris in the mid-to-late 1800s, promoted the concepts of creating art for its own sake, rejecting wealth and pursuing idealized notions of love and truth.] Voice-over narration by Ewan McGregor, as “Christian,” is heard throughout the picture, as if the film is illustrating the novel he is writing about his romance with “Satine.” Although several reviews refer to Richard Roxburgh’s character as the “Duke of Worcester,” in the film he is called only “The Duke,” and his name appears in written form once as “Duc de Monroth.”
       The end credits contain a disclaimer noting that while some actual characters, firms and events are depicted, the film is a work of fiction. The real Moulin Rouge, notorious for its can-can dancers and sexually suggestive atmosphere, was owned by Charles Zidler and his partner Joseph Oller, and opened in Montmartre on 6 Oct 1889. Artist Henri de Toulouse-Lautrec (1864—1901), perhaps best known for his portraits of the club’s entertainers, has been portrayed in other films, including the 1953 production Moulin Rouge , which is otherwise unrelated to the 2001 film (see AFI Catalog of Feature Films, 1951-60 ). Môme Fromage, Le Petomane and Le Chocolat were real performers at the club. The film’s presskit notes that the character Satie is “based on a loose mix between” unorthodox composers Erik Satie and Maurice Ravel.
       The end credits also include a card thanking Möet Chandon Champagne. According to a Nov 2000 article in Brill’s Content , Susan Safier, the vice-president of Product Placement, persuaded Möet Chandon “to provide a large supply [of their champagne] and also got the company to reproduce vintage labels—at its own expense—which the film’s production staff then used to replace the real ones.”
       According to a Jun 2001 Movieline article, Luhrmann originally considered casting Heath Ledger as Christian, but after conducting several screen tests of Ledger with Nicole Kidman, decided that he was too young for the role. Both Kidman and Ewan McGregor made their singing debuts in the film, and in the film’s presskit, McGregor credited the extensive four-month rehearsal process with aiding his ability to feel comfortable singing in front of the cameras during actual production. According to the presskit, in order to obtain the best vocal performances from the actors, Luhrmann allowed them either to lip-sync to their own pre-recordings, or to sing live during shooting, accompanied by a guide track or a live keyboardist. The picture marked the screen debuts of Australian actors Caroline O’Connor and Matthew Whittet.
       Numerous news items and magazine articles chronicled injuries suffered by Kidman, which delayed filming, including a twice-broken rib caused by being lifted in the dance sequences while wearing a tight corset, and torn knee cartilage resulting from a fall during the “Diamonds Are a Girl’s Best Friend” production number. According to an interview for, Leguizamo approximated Toulouse-Lautrec’s short stature through the use of “amputee prostheses with movable ankles and feet. His real feet and lower legs were erased with computer special effects.” In several interviews, Leguizamo mentioned that the prostheses, which weighed approximately forty pounds each, were painful to wear and caused his legs to go numb.
       In the picture, song lyrics are often used as dialogue to propel the story. According to added content on the film’s special 2-disc DVD release, composer Craig Armstrong explained that the film’s story “is constructed around the choice of the songs.” It took Luhrmann two years to obtain the rights to the songs used in the extensive music score, according to a 6 May 2001 LAT article. In The Times (London) review, it was reported that Luhrmann obtained the rights for free from artists eager to participate in the unusual project, although an 18 Jun 2001 People article stated that the director paid Courtney Love, widow of songwriter Kurt Cobain, $125,000 to use the song “Smells Like Teen Spirit.” The article also reported that Luhrmann originally had the song recorded by Marilyn Manson, but when Love objected, was forced to re-record it with an “unknown” band shortly before the picture’s premiere. No artist is listed as performing “Smells Like Teen Spirit” in the onscreen credits. The only music to which Luhrmann could not obtain the rights were songs written by the Rolling Stones and “Father and Son,” composed by Cat Stevens, who, because of his religious beliefs, objected to the film’s subject matter. According to Armstrong, after the filmmakers were unable to use "Father and Son," they decided to use "Nature Boy," which is sung at both the opening and ending of the film, and is used as "Christian's theme." "Toulouse's" big line during the production of Spectacular, Spectacular --"the greatest thing you'll ever learn, is just to love, and be loved in return"--is a lyric from "Nature Boy."
       In numerous interviews, Luhrmann described Moulin Rouge! as the third in his “Red Curtain” trilogy, which began with the Australian Strictly Ballroom (1992) and continued with William Shakespeare’s Romeo + Juliet (1996). On the Moulin Rouge official website, Luhrmann explained that his “Red Curtain” films employ a heightened sense of theatricality, through the use of music, language, dance or other devices, and are based on an underlying, primary myth. The myth Luhrmann utilized for Moulin Rouge! was that of Orpheus, who descended into the underworld in search of his lost love but returned alone. (Several times during the film, the inhabitants of the Moulin Rouge are referred to as “creatures of the underworld.”) In added material prepared for the film's DVD, Luhrmann called his “Red Curtain” films “audience participation cinema,” and elaborated that the aim is constantly to remind the audience that they are involved in the process of watching a movie. Reviewers commented that the film's plot was also reminiscent of Alexandre Dumas' novel La Dame aux camélias (1848) and Giuseppe Verdi's opera La traviata (1853).
       In several interviews, Martin, Luhrmann’s wife and frequent collaborator, commented on the film’s complicated art and costume design. Fabrics from around the world were used for the over four hundred costumes in the picture. Hand-beading and embroidery for some of the costumes was done in India, while some costumes were imported from Italy. Martin and Luhrmann commented in several sources that the film’s “look” was inspired by “classic film divas” such as Marlene Dietrich, Greta Garbo and Rita Hayworth; Hollywood musicals such as Folies Bergere , Meet Me in St. Louis and Cabaret ; and the frequently extravagent “Bollywood” musicals from India.
       In designing the Moulin Rouge, Martin had access to blueprints for a planned 1902 renovation of the real nightclub, according to a May 2001 Entertainment Design Magazine article. One of the film’s most elaborate sets is the three-story, papier-maché elephant that contains Satine’s boudoir. The elephant is based on a building in the garden of the real Moulin Rouge, which housed an Arabian-themed gentlemen’s club. According to the picture’s presskit, several different sets of the elephant were built, including a full-scale elephant on a steel frame. The real Moulin Rouge was acclaimed for its at-the-time novel use of electricity, and in the presskit, director of photography Donald M. McAlpine stated that he attempted to reproduce the presumed effect of electric lights on the patrons by using “heightened lighting as befits the Moulin Rouge: all glamour.” The color design of the picture was inspired by the colors used in the actual paintings by Toulouse-Lautrec, according to the presskit, as well as Luhrmann’s desire for a “super-saturated” Technicolor look. According to, the filmmakers originally planned to use only thirty special effects shots, but wound up with over three hundred in order to accommodate the many 3D models and miniatures. The film was shot entirely on soundstages in Sydney and Madrid and features no exterior locations.
       Although the film was originally set to open in Dec 2000, the release date was delayed until May 2001. According to Oct 2000 HR and LAT news items, Fox decided to give Luhrmann extra time for the complicated post-production. In Apr 2001, Entertainment Weekly reported that Luhrmann had been unable to complete filming in time for the Christmas release, due to complications such as Kidman’s injuries and the need to vacate their soundstages in Sydney, which were required by another production. According to the article, “Luhrmann eventually picked up his missing shots in Madrid last fall.”
       Vogue , which had anticipated that the film would be released near Christmas 2000, featured Kidman on the cover of its Dec 2000 issue, and included a lengthy article about the picture’s fashions. In mid-Apr 2000, Vogue hosted a preview screening of the film, in conjunction with a specially commissioned fashion show. According to a 6 Sep 2001 HR review, Luhrmann’s efforts to publicize the film became the focus of a BBC television documentary entitled The Show Must Go On . The documentary, directed by Adrian Sibley, followed Luhrmann for four months, beginning with the Cannes Film Festival, which celebrated its opening night with the premiere of Moulin Rouge! . In Aug 2001, Parade announced that Luhrmann was considering adapting the film for the stage. The picture was given a theatrical re-release in Los Angeles, Chicago, New York and San Francisco on 21 Nov 2001.
       Moulin Rouge! was included in many top ten lists and was named the best film of the year by the National Board of Review. The film was nominated by AFI as Movie of the Year. In addition, Jill Bilcock received the AFI award as Editor of the year and Craig Armstrong received AFI's Composer of the year. The picture won Golden Globes for Best Motion Picture--Musical or Comedy and Best Score, and Kidman won the Golden Globe for Best Actress in a Motion Picture--Musical or Comedy. Luhrmann and McGregor received individual Golden Globe nominations.
       The picture’s main love song, “Come What May,” also garnered a Golden Globe nomination for Best Original Song for composer David Baerwald. Moulin Rouge! also won Australian Film Institute Awards for Best Cinematography, Best Editing, Best Costume Design and Best Production Design. The film won Academy Awards for Best Art Direction and Best Costume Design and was nominated for the following Academy Awards: Best Cinematography, Best Film Editing, Best Makeup, Best Picture, Best Sound and Best Actress, for Kidman. Moulin Rouge! also was ranked 25th on AFI's list of the 25 Greatest Movie Musicals. 

Bibliographic Sources:   Date   Page
American Cinematographer   Jun 2001   pp. 38-51.
Brill's Content   Nov 2000.   
Daily Variety   16 Nov 1999.   
Daily Variety   24 Oct 2000.   
Daily Variety   10 May 2001   p. 2, 18.
Daily Variety   1 Jun 2001   p. 1, 42.
Daily Variety   23 Oct 2001.   
Entertainment Design Magazine   May 2001.   
Entertainment Weekly   27 Apr 2001.   
Entertainment Weekly   25 May 2001   pp. 48-49.
Entertainment Weekly   1 Jun 2001.   
Entertainment Weekly   14 Sep 2001   pp. 12-13.
Entertainment Weekly   2 Nov 2001   p. 46.
Hollywood Reporter   10 May 2001   p. 1, 35.
Hollywood Reporter   18 May 2001.   
Hollywood Reporter   25 May 2001.   
Hollywood Reporter   6 Sep 2001   p. 22, 26.
Hollywood Reporter   5 Oct 2000   p. 4, 23.
Los Angeles Times   5 Oct 2000.   
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Los Angeles Times   11 May 2001.   
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Movieline   Jun 2001.   
New York Times   15 Apr 2001.   
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New York Times   6 May 2001.   
New York Times   18 May 2001   p. E10.
NYT Magazine   13 May 2001.   
New Yorker   28 May 2001   p. 140.
Newsweek   28 May 2001.   
The Observer (London)   19 Aug 2001.   
Parade   19 Aug 2001.   
People   6 Dec 1999.   
People   23 Apr 2001.   
People   18 Jun 2001.   
Rolling Stone   7 Jun 2001   p. 119.
Screen International   29 Oct 1999.   
Screen International   25 May 2001.   
Sight and Sound   Sep 2001.   
The Sunday Times (London)   6 May 2001   pp. 6-7.
Time   14 May 2001.   
The Times (London)   10 May 2001   p. 15.
The Times (London)   6 Sep 2001.   
Variety   26 Apr 1999.   
Variety   16 Apr 2001   p. 7, 46.
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Vouge   Dec 2000.   
Wall Street Journal   18 May 2001.   

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