Auteur research study. Auteur? - Baz Luhrmann

One struggle for an auteur is to maintain a healthy balance between personal expression and commercial imperatives. Well established Hollywood Martin Scorsese is all too familiar with this battle, "I still wonder what does it take to be a professional or even an artist in Hollywood. How do you survive the constant tug of war between personal expression and commercial imperatives" Luhrmann has maintained the ability to air his views and is yet to succumb to the constant pressure from Hollywood. "Luhrmann has a theatricality to him, a real whimsicality that other directors do not possess or are afraid of. Everybody else must be naturalistic of realistic, but not Baz he embraces that." Observes producer Craig Pierce, (item 13)

Although complete artistic freedom would be ideal Luhrmann recognises the importance of keeping Hollywood onside. He understands their reluctance to hand over thousands of dollars for a high risk production. He agrees, "studios don't run towards you to give you $50,000,000 in order to re-invent

the post-modern musical, if you do manage to cajole them into doing it and you want to maintain the flag of creative freedom, you better make sure that it pays the bills" and that's exactly what Luhrmann does, he goes out of his way to communicate his films; hence the documentary that sees him in the mid-west riding an elephant wearing a Mexican cowboy hat.

Respected director Scorsese highlights the importance of teamwork, he argues, "a director is a team player whereas an artist such as a poet can be a loner" Many directors in Hollywood never speak to their studios but Luhrmann likes to engage them in discussion. Unlike other mainstream directors Luhrmann does not see film making as a business but as an artistic lifestyle, "we are not for hire, I don't want to be. I wouldn't take a directing job if I didn't think it was an enriching life"

Luhrmann's debut film, 'Strictly Ballroom' was created in response to the idea that only one way of film making works. Luhrmann bit back with, "when anyone tells you that there's only one way to cha-cha-cha as opposed to listening to your inner instinct then they're lying." He set out to create Strictly Ballroom as a result of feeling artistically oppressed. It also reflected the oppression during the time of the cold war; Luhrmann is the first to admit that this sounds odd but whilst performing the play in Czechoslovakia and other oppressed countries in the Eastern Bloc awarded it first prize.

The Strictly Ballroom screenplay wasn't initially appreciated. When it was made it was screened to the man holding the distribution rights; he had two cinemas and walked out insisting..."I can't in all my good conscience give two cinemas to that movie" He claimed it an insult on Pat Thomson's career and took away the two cinemas. But then it was selected to Cannes and that provoked a bidding war. Luhrmann believes the film was successful based on its universal story which can be appreciated worldwide. Luhrmann's red curtain trilogy is reflective of his aim to break free..."to make a musical when all the experts say 'don't do it, musicals are dead' takes courage, to make it expertly takes expertise. Moulin Rouge challenges our notion of pace by presenting every moment as a showstopper. And wins" Stanley Donen (item8)

As soon as the play button is pressed and a Luhrmann film rolls it is easy to recognise his traits and techniques. His fingerprints are clearly evident upon his work which enables me consider him an auteur..."the auteur sign by contrast, signifies a set of stylistic and thematic features to be found in the film itself and is thus more specific."

The theory behind the Red Curtain Trilogy technique is that, "hyper-theatrical paradoxically" can intensify emotion. The audience is re-introduced to stories that appear tired but this theatrical device acknowledges their overuse.

Luhrmann insists that his interest in universal storytelling has shaped his work into simple myths set in highly creative worlds. Unique as each of his films are, Luhrmann plays by three key rules; they are simple identifiable myths. The audience knows how the story will end within the first ten minutes. They are set in heightened creative worlds. Strictly Ballroom explores the world of ballroom dancing, Romeo and Juliet uses the apocalyptic world of Verona beach and Moulin Rouge, Paris 1899. Despite the heightened creativity we recognise aspects of our own world in them. Modern elements are blended seamlessly into the scripts of Romeo and Juliet and Moulin Rouge. The TV anchorwoman replaces the narrator in Romeo and

Juliet, gunplay replaces swordplay and the taking of hallucinogenic drugs and drag act appear convincingly with the original dialogue. John O'Connel, choreographer and Marius Devices, musical director worked to inject an up to date feel to the Moulin Rouge; Fatboy Slim worked alongside O'Connel to create a hardcore, sexy dance..."I tried to make it a bit loser in the sense that it wasn't a structured can-can." The contemporary music within that time period invites the audience to relate, it feels like a party that we the audience have been invited to.

Each of Luhrmann's films contains a device which encourages audience participation, co-producer Martin Brown salutes this technique and agrees that this is their common goal. Strictly Ballroom is told predominantly through dance, Romeo and Juliet uses iambic pentameter where Luhrmann uses the heightened language to draw the audience away from reality and the musical form of breaking into song is used in Moulin Rouge. By encouraging their involvement in the film Luhrmann gauds his audience into responding..."in a world where the audience is so into the device I make a deal with them and say 'okay the games up, I pull the red curtain back and say we the storytellers are here" He uses the frentic back and forth camera work in Moulin Rouge to put us in the same frame of mind as the main protagonist as he enters the Moulin Rouge Nightclub.

Luhrmann uses his perspective of love to sign his work; Romeo and Juliet, Moulin Rouge and his stage production of La Boheme all display the message "L'amour Fou" on either signs or billboards. "L'amour Fou" is a French phrase meaning "crazy love" which is supportive of Luhrmann's reoccurring theme - love in unconventional circumstances.

It is often said that an auteur establishes relationships with certain production teams, cast and crew and is often to deter from these. Although Luhrmann works with some of his teams on more than one occasion he recognises the importance of new blood..."Each new project has new blood, whether it's Ewan McGregor or the fabulous hair and make-up team that have worked with Fellini. When I do an opera I do not work with Craig (Pierce), it is not rhetoric, its not a PR line that our life is our work is at one - that's the truth, out of that comes these creative relationships"

Despite Luhrmann's urge for new blood he notes the importance of working with someone he has a profound connection with; hence the personal and working relationship with Craig Pierce that has spanned twenty years. Pierce writes the screenplay for all three of Luhrmann's films. Luhrmann started the screenplay of Strictly Ballroom with a professional writer but after a certain point approached the producer to say that it wasn't working and that he wanted to work with his best friend (Pierce) because he understood his vernacular. This mix of old and new blood allows Luhrmann to communicate his own views more effectively, letting more of his personality shine through.

In my opinion the most significant aspect of Luhrmann's films is the huge influence that his personality has on them. This I believe enforces his status as an auteur. Bollywood has had a profound influence on Luhrmann's trilogy, Moulin Rouge in particular. Luhrmann's connection with India emerges from his time there when he had lost interest in both his life and his work. He believes that India revitalized his spirit and understanding. Luhrmann's Moulin Rouge was created after a visit to a Bollywood movie, he witnessed two thousand audience members enjoy high tragedy, high comedy, brother killing brother, the breaking into song, all jumbled together in four hours of Hindi. This prodded Luhrmann to

question..."could we create a cinematic form like that? Could a musical work?" and so Moulin Rouge was born. He praises India for the strength of its film industry and held the Moulin Rouge premiere there. The end track of Moulin Rouge is an Indian pop hit with a techno Beethoven and then Nicole Kidman singing Diamonds are a Girls Best Friend with one of India's great vocal stars singing over the top.

Luhrmann's main passion ...music...is dominant throughout his work..."it has been an ambition of mine to find a cinematic language through which you can tell a story" Growing up in the small rural town of Herron's Creek Luhrmann became enthralled with music. Moulin Rouge has fulfilled his ambition of telling a story through music. Every important declaration is made through song, whether it be Christian belting out Elton John's "Your Song" or Satine serenading him with "Come What May" these expressions fit in theatrically whilst being expertly re-invented. The Police's "Roxanne" and Madonna's "Like a Virgin" are transformed into a tango and a show tune. Luhrmann justifies this use of musical declaration by simply stating..."music touches and unites us in a way we cannot describe its there when words fail us."

Luhrmann and the Coens have proved that the Hollywood musical is not dead; its form has just altered. Luhrmann's use of late 20th century music to score a late 19th century period film has come to be what audiences expect. Unlike previous characters singing whole songs perfectly, Luhrmann uses songs that have seeped so perfectly into the popular consciousness that they seem a natural and realistic expression of an emotional moment.

Currently Luhrmann is turning his hand to the re-make of Alexander the Great. He insists that his film that will star Leonardo DiCaprio and Nicole Kidman cannot be rushed. It will be distributed domestically by universal and will not be ready until late 2005. The life story of Alexander, the bisexual world conqueror viewed as visionary and as an oppressor; a man with dreams of a multicultural kingdom and all sorts of mother issues will be perfect territory for Luhrmann, a great chance to unleash his personality.

Luhrmann works outside mainstream Hollywood and fails to buckle under the pressure supplied by the majority of filmmakers. He is a true auteur who treasures his work, "it's like a child you love very much - you want to protect it out there as people won't always love it as you do" Luhrmann understands the importance of good story telling but goes about it in his own unique way, "Even if it fails at the box offices I will still be at peace"

Evaluation

It has been said that to attain 'auteur' status a director must leave a stamp upon his work. An auteur faces the battle of finding a balance between commercial imperatives and personal expression. Baz Luhrmann fights this battle and wins.

I believe that a critical approach to 'auteur' definition is increasingly valuable. This approach enables me to discover auteur status within Hollywood. The director was an ideal choice as he/she holds a massive amount of control over a film. As a result of my research I am able to consider Luhrmann an auteur: He has contributed new ideas and techniques to the world of film; Luhrmann entered the industry with a film so daring that it won the hearts of many. This film, "Strictly Ballroom" marked the beginning of

Luhrmann's "Red Curtain Trilogy". This is a trilogy that shattered previous standing conventions and encouraged audience participation. Luhrmann is constantly reminding his audience that they are watching a film and invites them to participate. Luhrmann has been widely credited for his work and critics have come to accept and admire his individuality. This is particularly evident within the many critics' views I have obtained during this study. Although critics are still divided over Luhrmann's approach he was received a higher amount of praise for Romeo and Juliet and Moulin Rouge. His techniques have not changed but audiences have become more accustomed to his way of filmmaking. Criticism plays a highly important in the world of 'auteurs', directors work to succeed by making a profit whilst creating a film which portrays aspects of their own personality.

The red curtain trilogy carries a signature, it is a product created by Luhrmann. His personality is clearly expressed through the techniques and views used in these three films. My presentation shows how Luhrmann brings something new to the film industry. He has reinvented the Hollywood musical for a modern audience. My sources, which include books, television documentaries and internet sites have aided me to draw the conclusion that Luhrmann is an auteur. This catalogue of sources has strengthened my initial belief and provided me with new angles for considering Luhrmann's status as an auteur.

I believe that my research has identified key aspects of Luhrmann's and the part it plays in shaping his work. This has enabled me to draw informed conclusions regarding his status as an auteur. The diversity of my sources has proved effective in allowing me to draw evidence from different angles; my conclusion is therefore less likely to be biased. However not all of the material collected was relevant to my study and contained one-sided, uninformed views. I have enjoyed conducting this study and found the 'extra features' taken from the videos and DVD's to be particularly fascinating. I found it useful to hear Luhrmann speak directly of the techniques and ideas used to create his trilogy.

Sifting material from internet sites was often difficult as it involved deciding which bits of information were genuine as opposed to gossip or opinion. I have found it very easy to get carried away whilst conducting this research due to the broadness of the subject. If I were to do this study again I would perhaps explore a different aspect of his work and determine his position as an 'auteur' using a different route.

Vicky Brankovic 12BE

FS4 - Auteur Research Study

Baz Luhrmann