Abstract
Romeo+Juliet and Moulin Rouge are two movies directed by the eccentric Baz Luhrmann. In these love stories, Baz Luhrmann especially stake on the visual and the abundance: the abundance of decorations, the abundance of colourful visuals (Moulin Rouge « uses the colourful musical setting of the Montmartre quarter »), the abundance of the actor's play, the abundance of the story, the abundance of love, the abundance of money. This abundance allows us some questions about the marginality and the networks in these movies. But on thinking it over we can see that Romeo+Juliet and Moulin Rouge are almost the same, we meet again the same state's mind of the characters, and even the same characters. Thanks to all of this, we shall study a lot of things: first, we are going to say a few words about the great director, Baz Luhrmann, then we will sum up Romeo+Juliet and Moulin Rouge. In a third part, we shall see that Moulin Rouge took one inspiration of Romeo+Juliet and then, we'll study the marginality of the characters, of the theatricalness and of the different networks in these two movies.
To conclude we shall ask the question of what will be the problematic of this essay: Can not we think that the Baz Luhrmann's way to represent a musical comedy and an adaptation of a Shakespeare's famous play hide another gender of movies?
