Film I re-invigorated mylove of cinema this afternoon. I wasn't expecting to - it just happened. It happened during the opening moments of Moulin Rouge. Here is a film which had stripped away all of the usual mess at the beginning of a film to do with quietly setting up character and plot and was actually giving away the end, throwing us directly into the place. We visit the cinema for escapism and here it was.

Another attempt to create a hip-musical, Rouge is better than most, possibly because rather than taking it’s cues from the Hollywood of the 1940s, we have the ye olde musical exemplified by the strangely long-running tv series ‘The Good Old Days’. Yes the characters are simplistic, but no less simplistic than the average Lloyd-Webber – and at least here don’t feel like constructs of the script – even if in fact they are. As with ‘Romeo and Juliet’, director Baz Lurhmann takes his cues from music video to the point of using late twentieth century pop over more traditional music. Don’t listen to anyone – this works stunningly well. In a scene reminiscent of the balcony scene from the aformentioned play about star-crossed lovers, instead of Shakespeare, we find song lyrics, everything from ‘The Beatles’ to Bowie – hell they even make the work of Elton John seem half decent.

But can they sing? Yes and they can dance a little – and act.

Nicole Kidman has always seemed a slightly anti-sceptic actress. Her performances have always been at the edge of passion – slightly distanced from the material. Paradoxically she made ‘Far and Away’ – her work there was funny and touching despite the accent. In ‘Moulin Rouge’, that Kidman is back, with her comic timing and luminous sadness.

Ewan Mcgreggor should now be a broken actor. Students from the early nineties look into his eyes and see a heroin addict. Kids of the late nineties watch him move and see a lightsaber in his hand. It’s a testament to his skills at an actor that he carries this baggage, but we are still expecting even more from him. A spent force? Not yet.

Even Jim Broadbent manages to work wonders with what could be a one not part, being angry and soft in the same moment at times.

So the film -- loud? Yes. Brash? Certainly. Worth seeing? Go with an open heart.

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