As I look at the posters, I reflect upon how beautiful, handsome and powerful most of these people look in the renderings that the artists have drawn for the posters. As we all know, life doesn’t exactly imitate art in that way, and people are vulnerable.
With all due respect to Baz Luhrmann and the exquisite Nicole Kidman, the 1952 movie
Moulin Rouge was far superior to the one that came later. I believe that many people feel as I do. If you are going to tell a story about a person’s life or a place in time, I think a director or producer owes it to the public to at least keep it realistic, so that future generations understand history, and not a figment of the imagination.
My complaint regarding the updated
Moulin Rouge was that the music was not at all what was played in the late 1800’s in Paris at the real Moulin Rouge. To make matters far worse, Toulouse-Lautrec was portrayed as a fool.
I love Toulouse-Lautrec. I love the original
Moulin Rouge. Director John Huston brought the people of that time to life. Toulouse-Lautrec was a talented artist who would sit in the Moulin Rouge each night and sketch the performers and the patrons. At 13 and 14 years of age, Toulouse-Lautrec broke first his left thigh bone and then his right thigh bone. These breaks never healed properly and left him disabled. Through his art, however, people today can see what life was really like at that time. The original film
Moulin Rouge was authentic and portrayed the dancers, singer Jane Avril and the patrons with sensitivity and reality. The music in this film was consistent with the era. The costumes fit that time. Jose Ferrer, who ultimately received the Oscar for his portrayal of Toulouse-Lautrec, was a revelation. After I saw that movie, I wanted to hug Toulouse-Lautrec. I wish I could have told him how wonderful he was, and how much his work moved me. I hope, if we’re able to make contact with the other side, that he receives my thoughts and knows to this day how much people like me appreciate him, and his gift.

Toulouse-Lautrec’s story reminds me of Lorenz (Larry) Hart, Richard Rodgers’ first partner, before Oscar Hammerstein. Larry Hart was a sensitive, loving and talented spirit. But like Toulouse-Lautrec, he was extremely short and he felt unattractive. If he tried to approach a woman to whom he was attracted, invariably he would be rejected and this led him to become an alcoholic. For those who don’t know, Lorenz Hart contributed to music with magnificent songs like
Falling in Love with Love,
Johnny One-Note,
My Funny Valentine,
Isn’t it Romantic and
Where or When. These songs are still being recorded today and will continue to play forever. He also wrote
My Heart Stood Still, as well as
With a Song in My Heart. Richard Rodgers wanted to continue working with Hart, but found it difficult. When Rodgers met Hammerstein, a new partnership formed. Larry Hart was devastated. On the opening night of Rodgers & Hammerstein’s
Oklahoma, Hart was in the audience. After the play, he congratulated Richard Rodgers and told him he had a hit. Shortly thereafter, Larry Hart passed away. But Larry, too, is one person that I wish I could hug, and tell him how much I love him and appreciate his work.
Lastly, we come to Judy Garland. I’ve read many biographies about her and my heart has always gone out to this talented, vulnerable woman. Although she had tremendous success, she suffered from debilitating insecurities. Although she was a beautiful actress, the studios never portrayed that side of Judy. They allowed Lana Turner and Hedy Lamar to be glamorized, and Judy always felt like a poor third. Judy, if you can read this or hear my voice, history will always remember you and your contribution to films. Your voice will live on forever and because of you, perhaps we will all look
Somewhere Over the Rainbow for what we seek.