An in-depth analysis of the evolution of Baz Luhrman's directing style focusing on the use of filmic techniques. Graded as A*.
In the 12 years between the production of Moulin Rouge and The Great Gatsby, Baz
Luhrmann’s style as a director has changed a great deal. However, we still find remnan...
Thiandi netshishivhe
12E2
English film task 2
The evolution of Baz Luhrmann’s directing style
Master maximalist and visionary director, Baz Luhrmann, is renowned for his heightened theatrical
storytelling, kinetic pacing and his extravagant directorial style. It is hard to deny the director’s
unique cinematic approach which has enthralled audiences into the fantastical worlds of his
productions. Baz Luhrmann’s distinctive style and unique creative vision can be perceived
systematically throughout his cinematic discography as having remained consistent within the
context of the basic elements usually incorporated in a Baz Luhrmann production, only altering its
form to suit the body of work onto which it is being applied to. This essay will examine how Baz
Luhrmann’s directing style is altered to adapt to films Moulin Rogue, Romeo + Juliet and the Great
Gatsby while accounting for the use of various filmic techniques such as lighting, rapid editing,
non-diegetic sound (music and narration), unorthodox camera angles, camera shots mise en
scene, colour, close up, and flash cutting.
The structure of a Baz Luhrmann production remains mostly the same across all of his films. This
is evident through his use of narration as a form of non-diegetic sound. In all three films a narrator
will lead the audience through the unknown world, establishing the plot, setting and certain
characters, often times foreshadowing the tragedy that is soon to unfold. A prime example being
Christian in Moulin Rouge who finds himself in French bohemia mourning the loss of the woman
he loves or in the 2013 film the great Gatsby where our narrator, Nick Caraway is narrating
Gatsby’s downfall from a mental institution. Luhrmann’s use of narration in opening scenes can
even be traced back to his earlier works such as the 1996 Romeo + Juliet where we witness the
news reporter tell the tragic tale of the star-crossed lovers.
When we are thrown into the first act of a Luhrmann film, we are always greeted with a radical fast
paced overly theatrical scene that usually details slap stick comedy. In order to capture the
madness of theses opening scenes Luhrmann often makes use of crane shots usually in the
beginning of his films. For instance, when establishing the setting of the Moulin Rogue, displaying
the sheer vastness and extravagance of Gatsby’s mansion and once again when capturing the
chaos and aftermath of the civil brawl caused by the Montagues and Capulets in Romeo + Juliet.
These crane shots are often followed up by awkwardly angled camera shots such as a ductch tilt
or an oblique angle shot and high angle shots. The disorientating use of camera angles is often
accompanied by scenes with prominent musical numbers as seen in Moulin Rogue when the cast
sings about the idea of a new production to the duke or when Gatsby first introduces himself to
Nick while speeding through the city of New York or once again in the shoot out at the gas station
in Romeo + Juliet. Luhrmann seamlessly incorporates these elements across all films, making it
feel as if the audience is apart of the madness and disarray while incurring an intense and dizzy
feel to the scene.
The employment of camera angles is one of the most distinguishing features of Luhrmann's
directing technique. To convey a sense of intimacy and intensity, he frequently uses extreme
close-ups . Luhrmann, for example, used extreme close-ups of Leonardo DiCaprio's face in The
Great Gatsby to express the character's emotions and inner turmoil when Daisy expresses her
hesitance to leave Tom. Similarly, during the pivotal balcony scene in Romeo + Juliet, Luhrmann
used close-ups of the actors' faces to create a sense of closeness and romance. It can be
deduced that his use of this filmic technique has remained consistent though all three films.
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