The heaving bosoms, and frilly wide skirts overlapping petticoats with stockings and frilly pantaloons belonging to the dancers are consistent throughout the film, their own colours matching the lively cleverly mismatched colours of the Moulin Rouge. .
The music is loud and brash, yet sultry enough for the promiscuous dance moves of the can - can dancers to perform to and encourage the male customers to return to the nightclub. The music is a little strange though, it is a mixture of all different contemporary music performed in a time of the 1900s. The surprising thing is that it is cleverly fitted in. It again matches the sumptuousness of the film as a whole. It is a pleasant suprise. The prized dancer, Satine, the main female character of the film is treated like a film star, in lavish surroundings of red velvets and red satins. Moreover our penniless writer, Christian is given a run down mousey apartment opposite Satine's window, enstrengthens their "fate" for the two to be near each other. The word "L'amour" is in bold red letters out on his balcony, enhancing the actual fact Paris is the city of true romance and love.
Narrative in "Moulin Rouge" is amazing. No camera angle is the same. Baz Lurhmann knows how to create any mood from predominant colours and shots in one second. As mentioned before, the viewer is automatically absorbed from the beginning until the end, and this is why. When there is a dance at the Moulin Rouge for example, there are multiple pan movements, swish pan movements, jib crane shots and dolly track shots all rolled into one mis - matched crosscutting sequence connotating the chaos and unpredictability of the Moulin Rouge. It builds and quickens to the tempo of the music and has a grand finale. There are a feast of colours and the imagery is exotic and seductive and shows the realism of what the Moulin Rouge really was. A club with no limits. When it comes to a ballad in the movie, again the camera moves this way and that, however has a more sweeping movement, and the colours are softer as is the lighting.
