This film was one of those that I saw in the late 1990s when I was first allowed to watch opera. I was bowled over by the singing, the acting and the production. It is partly responsible for kindling my interest in opera and for encouraging me to explore further. Naturally, on this journey, I have seen many more Bohèmes, several of which I have reviewed on this site. In the process I have come to realise that the singing in this film is only Australian class rather than world class. David Hobson has a rather thin tone as Rodolfo and Cheryl Barker's delivery, as Mimi, is somewhat unemotional. Still I find the performances immensely moving and the stage direction by the young Baz Luhrmann is unsurpassed.
Luhrmann sets the story firmly in Paris in 1957. We have lots of 1950's posters in the Bohemians' garret and, when we first see Marcello, he is flinging paint onto a canvas in the manner of an action painter. Such updates do always create incongruities. Mimi's dying of consumption in 1957 is a bit unlikely and I am fairly sure that they had electricity in Paris in the 1950s so all the business about Mimi's candle blowing out becomes a bit silly. Still, we do not mind because David Hobson and Cheryl Barker make such a sexy couple and Luhrmann has an original take on their groping for the key in the dark. On the rotating stage, their first act finale O Suave Fanciula takes place on the roof of their apartment in front of a neon sign reading "L'Amour". Mimi gently pushes Rodolfo away as he attempts to kiss her because it is too early in their relationship.
There is a good Café Momus scene with effective performances from Roger Lemke as Marcello and Christine Douglas as Musetta. I liked the addition of Japanese tourists to the festivities. The breakup scene is gut-wrenching, on a split-level stage with Mimi down below overhearing Rodolfo's fears for her life and his need to get away from her for her own sake. Luhrmann saves two clever details for the final scene. When the lovers reminisce about finding the key, Rodolfo actually produces it from a string around his neck. Where the lovers embrace for the last time Mimi again refuses to kiss Rodolfo. This time it is too late.
Luhrmann sets the story firmly in Paris in 1957. We have lots of 1950's posters in the Bohemians' garret and, when we first see Marcello, he is flinging paint onto a canvas in the manner of an action painter. Such updates do always create incongruities. Mimi's dying of consumption in 1957 is a bit unlikely and I am fairly sure that they had electricity in Paris in the 1950s so all the business about Mimi's candle blowing out becomes a bit silly. Still, we do not mind because David Hobson and Cheryl Barker make such a sexy couple and Luhrmann has an original take on their groping for the key in the dark. On the rotating stage, their first act finale O Suave Fanciula takes place on the roof of their apartment in front of a neon sign reading "L'Amour". Mimi gently pushes Rodolfo away as he attempts to kiss her because it is too early in their relationship.
There is a good Café Momus scene with effective performances from Roger Lemke as Marcello and Christine Douglas as Musetta. I liked the addition of Japanese tourists to the festivities. The breakup scene is gut-wrenching, on a split-level stage with Mimi down below overhearing Rodolfo's fears for her life and his need to get away from her for her own sake. Luhrmann saves two clever details for the final scene. When the lovers reminisce about finding the key, Rodolfo actually produces it from a string around his neck. Where the lovers embrace for the last time Mimi again refuses to kiss Rodolfo. This time it is too late.