Christian is no exception. Looking for new inspiration, the aspiring poet moves from his stark, legalistic home in London to a run-down hotel across the street from the heart of Paris nightlifeβthe Moulin Rouge.
Quickly befriended by a comically rag-tag group of actors and musicians, Christian finds a niche for his writing talents. Toulouse and company convince him to be their stagewriter-in-residence and to help pitch their new show to the owner of the Moulin Rouge, Harold Zidler, and his leading lady-of-the-night, Satine. And Satine gets embroiled in a triangle of love and jealousy with both the innocent writer and the odious benefactor.
As a clever self-conscious twist, this love plot becomes the subject of the play that Christian is writing. And no matter whose heart gets broken and whose ideals get trampled, the show must go on. Satine may be beautiful and have profound power over men, but she is emotionally dead until she falls in love with Christian. He is vulnerable with her. He is willing to commit to her forever.
The clothing is scant, the dancing is seductive, and everyone is a commodity. Which is what makes Christian unique. Finally, he disarms her by singing to herβthus beginning the anachronistic barrage of pop tunes turned show tunes that weaves throughout the filmβand the encounter ends without a sexual tryst. Unfortunately, Christian and Satine eventually consummate their relationship, but this fact is downplayed in keeping with the idea that love is more than just sex.
A hit man is prevented from shooting Christian when a dancer drops a sandbag on his head. The Duke tries to shoot the young hero, and is punched in the face by one of the good guys.
