法国巴黎，红磨坊

1914年，法国巴黎，红磨坊被烧毁的前一年

1889 年 10 月 6 日，红磨坊 (法文名为 Moulin Rouge，英文名为 the Red Mill) 在巴黎花园蒙马特尔山脚下开张。它的创始人西班牙人约瑟夫·奥勒和他的经理查尔斯·齐德勒是很棒的商人，他们非常了解当地人的口味。被奥勒和齐德勒昵称为“第一个女人宫殿”的红磨坊很快在奢华的蒙马特区获得了巨大的成功。

店面外装饰着许多闪闪发光的电灯，这在当时是一种十分新奇的东西。在红磨坊的最前面有一个巨大的红色风车，这样的设计缘起蒙马特区的历史--一个曾经有很多风车的村庄，一座哥特式的城堡就建在风车旁边。

刚开业不久的红磨坊，摄于1890年

自从 1889 年，巴黎大象公园的创始人在巴黎世界博览会 (Paris Universal Exhibition) 上展出了一只巨大的灰色大象，这座花园和它的露天咖啡馆也被称为 “巴黎大象公园” (Jardin de Paris Elephant)。后来他们买下了这只大象，大象在红磨坊被当作豪华的鸦片烟馆，在那里，花一法郎，绅士们就可以通过腿里的螺旋楼梯进入，肚皮舞演员会在里面为他们表演。

大象烟馆

从当地的小混混到腰包鼓鼓囊囊的游客，再到放荡不羁的艺术家，都喜欢到红磨坊喝酒看表演，因此这里每天顾客盈门，其中也不乏名人，比如后印象派画家亨利·德·土鲁斯-劳特累克就是每晚必到的常客，还画了不少以红磨坊为主题的画。

红磨坊的舞会，雷诺阿

红磨坊外的人流，摄于1927年

与好莱坞对红磨坊的描述不同，女性在这里并不是靠出卖身体来谋生的。她们是这里的生命和灵魂；他们非常擅长诱惑的艺术，能够与许多欧洲精英建立长期的关系；他们也被认为是名人，新闻界密切注视着他们的一举一动，这无疑加深了许多巴黎人对这些女人和这个场所的印象。

舞蹈团上场表演前在后台合影，摄于1924年

红磨坊的舞者到埃菲尔铁塔游览，摄于1929年

舞者们在化妆间上妆，摄于1930年

红磨坊的轻歌剧卡巴莱表演--康康舞都十分出名。开业后没多久，红磨坊就以性感露骨的康康舞和热闹喧嚣的氛围，奠定了自己在巴黎夜生活圈中的一席之地。这是一种不太雅观的舞蹈，女性在表演时需要高高地抬起腿和裙子。不光是红磨坊变得越来越有名，许多舞者也在这里走红，比如路易丝·韦伯 (Louise Weber)，她以在观众中旋转着跳舞以及乘他们不注意偷喝他们的饮料而著称，所以落下了“贪吃鬼”的绰号，老主顾们喜欢她在舞蹈动作中迷人而大胆的行为，其中包括把腿抬高并踢下男人们的帽子。还有后来一度成为身价最高女艺人的米丝廷盖特，她给自己的双腿上了 50 万法郎的保险。

埃德蒙·居伊登斯在红磨坊表演，摄于1926年

踢腿是康康舞的标志性动作，摄于1932年

两名正在表演康康舞的舞者，摄于1932年

1915 年的一场火灾把红磨坊烧毁，重建工作耗时数年，直到 1921 年俱乐部才重新对外营业。纳粹占领巴黎期间，红磨坊也没有歇业，而且被驻巴黎的德军官兵列为必游之地。

1915，被烧毁后的红磨坊

1940年8月8日，占领巴黎的德国士兵乘车经过红磨坊

占领巴黎的德军士兵在红磨坊门口与当地妇女搭讪，摄于1940年

红磨坊多年来经历了许多改革，试图在法国社会中找到自己的位置。第一次世界大战后，红磨坊编排了许多音乐剧和歌舞表演。然而，主要运营人的死亡似乎也意味着音乐厅的死亡，进而也意味着红磨坊的死亡。后来的一段时间内，它被改造成为电影院，并在 20 世纪 50 年代以餐饮表演重新焕发了活力。

直到今天，红磨坊依然迎接着从世界各地慕名而来的游客，尤其是 2001 年澳大利亚导演巴兹·吕尔曼在这里拍摄了《红磨坊》一片后，这座百年老店的名气就越发响亮了。享誉一个多世纪的红磨坊依然吸引着世界各地的顾客，摄于2015年7月9日

视频

1902年，影像资料

1952年，《红磨坊》电影片段

旅游指南，入场费为155欧，晚餐200欧

原文

On 6 October 1889, the Moulin Rouge (English: The Red Mill) opened in the Jardin de Paris, at the foot of the Montmartre hill. Its creator Spaniard Joseph Oller and his manager Charles Zidler were formidable businessmen who understood the public’s tastes. The aim was to allow the very rich to come and slum it in a fashionable district, Montmartre. Nicknamed “The First Palace of Women” by Oller and Zidler, the cabaret quickly became a great success.

The facade was decorated with glittering electric lights, which were a novelty at the time, with a huge red windmill at the very front of the building. The red windmill was designed to indicate the history of Montmarte, a village that once had many windmills in it. A castle was built in a Gothic style right next to the windmill.

The garden and it’s al fresco café was known as the Jardin de Paris Elephant, after the founders purchased a giant stucco elephant they had seen exhibited at the Paris Universal Exhibition of 1889. At the Moulin Rouge, the elephant served as a luxurious opium den where for a single franc, gentlemen could enter by way of a spiral staircase inside the leg and be entertained by belly dancers.

Unlike in Hollywood depictions of the Moulin Rouge, it is not true that women had to sell their bodies to make a living. They simply had to make conversation, entertain men and be the life and soul of the party. They were very skilled at the art of seduction and often formed long-lasting relationships with the European elite. They were also considered celebrities and disliked by many people. The press followed their every movement. This certainly added to the perception that many Parisians already had of these women and this venue.

Moulin Rouge operettas were well-known as well as the most famous cabaret performance: the Can-Can. The Can-Can was a dance involving an indecent display of women lifting up their legs and skirts. The most famous of these dancers was Louise Weber, or La Goulue (the glutton), so named because she was known for taking people’s drinks as she danced around their tables. She performed with her dance partner Jacques Renaudin, also known as Valentin le désossé (the boneless), but he was never as big a sensation as La Goulue. The patrons loved her for her charming yet audacious behavior in her dance routines that included raising her legs so high to kick hats off of men’s heads.

The Moulin Rouge went through many transformations over the years as it tried to find itself a place in French society. After World War I, there were many musicals and cabaret shows. However, their main show runner’s death seemed to also signify the death of the Music Hall, and by extension, the Moulin Rouge. It was turned into a cinema for a bit and revitalized in the 1950’s with a diner-spectacle show. Today, the Moulin Rouge is a tourist attraction, offering musical dance entertainment for visitors from around the world.