Romeo And Juliet And Moulin Rouge Analysis

The use of indices and icons is a concept that features in both Romeo and Juliet and Moulin Rouge.

It is true to say that Australian director Baz Luhrmann is one of the most influential and unique film-makers of our time. Focusing on the style, design and cinematography of a project, he creates exceptionally memorable projects with characters and storylines flawlessly portrayed.

In the very opening moments of the film, Romeo and Juliet, which is introduced by an anchor woman on a TV set that 's dwarfed within the widescreen frame, his camera goes on a vertiginous high speed tour of Mexico City, spiralling and zooming above the roofs and in the streets.

Luhrmann decides to have Romeo and Juliet meet at fish tank; this expresses the common element

There are not many words used in this scene, which allows the viewers to really understand and analyse the purpose of the using water in this scene. The camera switches back and forth from the lovers, always revealing the tank of water as the common object that has brought them together. The music from the party gradually fades out and the two lovers stare intensely at each other through the water. Shortly following this scene, both Romeo and Juliet fall into a pool of water, still dressed in their costumes. The water in this scene reveals a sense of innocence about their love and creates a romantic atmosphere. The two drowned out the mayhem of their worlds by plunging one another under the water. This scene shows that when the two are in the water they feel as though they are alone and disconnected from their reality. While under water they cling tight to one another and exchange a passionate kiss. They are soon interrupted by a guard and Juliet pushes Romeo under the water because she knows that their actions are forbidden outside their secret “water world.” In actuality Juliet knows that her world will always be one with no

With the Duke we always see Satine prepping beforehand in the mirror for example when she first goes to meet him as 'the smouldering temptress ' when the Duke gives her the necklace, they both look in the mirror which shows that Satine has conformed to the Duke, and he even builds her a new dressing room - a place designed specifically for changing who you are. The Duke wants the ideal of Satine, not who she truly is.

With Christian on the other hand mirrors hardly feature. She does not wear elaborate make up or costumes, she is herself. In Christian’s flat the only mirror is small, dirty and out of the way, thus supporting the idea that she doesn 't have to change herself for him. The theory is supported further because in the one scene where Satine is getting ready to lie to Christian, she prepares herself in a mirror. Her reflection representing the fact she has been manipulated by Zidler.

“In ‘Moulin Rouge,’ Luhrmann figured out a way for you to experience turn-of-the-century bohemianism as the radical impulse that it was, instead of something quaint,” said Owen Gleiberman. Baz Luhrmann brings a unique visual style to both films by modernising the films and adding his own unique film