Question: Children could have been a good extra to the film. You could have had maybe Christian or Satine having a younger sister or brother and the Duke having a niece or nephew both about thirteen or twelve and instead of Tolouse finding out about the duke killing Christian, the Duke's niece could have talked to Christian or Satine's sister and the Duke found out that his niece or nephew had told and done something to her and then Satine or Christian's sibling could have gone to find them and had to rush to try to save Satine and Christian from going away from each other entirely. Maybe they could have had a little love story too within Christian and Satine's. What do you think? Why couldn't children have been put in the film?
Question: In the beginning of the film, the audience sees the Moulin Rogue in its original role as a bordello/nightclub. It's hugely successful, too - it's full of patrons literally throwing money at the dancers. Why does Zidler want to stop all of this in favour of making it a theatre? And if he's dead set on this, why not do it using the revenue he's already got, instead of entering into a deal with a Duke who is jealous and possessive beyond belief (with a personal assassin, no less) and giving him the property's deeds?
Question: During the Tango de Roxanne scene, it seems that there is a lot of tension between Nini and the Argentinean. Also, when he yells at Christian for falling in love with Satine, it is almost as if he is speaking from experience. Is this because he is actually in love with Nini or is it just a part of the song itself?
Question: There is a song playing at the beginning of the movie, it starts just as Christian gives the narration "I first came to Paris 1 year ago. It was 1899, the summer of love. I knew nothing of the Moulin Rouge." The song itself is French and has a single voice singing with an accordion sounding instrument in the background, any idea what song that is?