Moulin Rouge is southwest of Montmartre, in the Paris district of Pigalle on Boulevard de Clichy in the 18th arrondissement, and has a landmark red windmill on its roof.

Key factors contributing to its success included:[1] During its early years, the Moulin Rouge featured extravagant shows inspired by the circus, along with attractions that gained widespread fame, such as Pétomane.

Between 1886 and 1910, the comic duo Footit and Chocolat, comprising a white authoritarian clown and a black long-suffering Auguste, gained popularity and were frequently featured on Moulin Rouge posters.

In 1893, the "Bal des Quat'z'Arts" sparked scandal with its procession featuring a nude Cleopatra surrounded by young naked women.

In January 1903, the Moulin Rouge underwent renovation and improvement under the direction of Édouard Niermans, a prominent architect of the Belle Époque era, amongst other works he designed the brasserie Mollard, the Casino de Paris, the Folies Bergère in Paris, the Palace Hôtel in Ostend in Belgium, the rebuilding of the Hôtel du Palais in Biarritz, and the creation of the Hotel Negresco on the Promenade des Anglais in Nice.

Successful shows during this period included Voluptata, La Feuille de Vigne, Le Rêve d'Egypte, Tais-toi tu m'affoles, among others, each with evocative titles.

On 3 January 1907, during the performance of Le Rêve d'Egypte, Colette exchanged scandalous kisses that revealed her connection to the Duchess of Morny, leading to the show being banned.

The Moulin Rouge experienced a resurgence with the performances of stars such as Mistinguett, Jeanne Aubert, and Maurice Chevalier, as well as the introduction of American revues featuring the Hoffmann Girls.

[9] Mistinguett's tenure at the Moulin Rouge produced enduring songs such as "Valencia," "Ça c'est Paris" (both by Jose Padilla), "Il m'a vue nue," "On m' suit," and "La Java de Doudoune," the latter performed with Jean Gabin.

The widespread prostitution during the occupation eventually led to the implementation of the Loi Marthe Richard in 1946, which closed bordellos and reduced stage shows to dancing events.

In 1944, shortly after the liberation of Paris, Edith Piaf, who had performed frequently at social gatherings for German forces during the war, returned to the stage at the Moulin Rouge.

Architects Pierre Devinoy, Bernard de La Tour d’Auvergne, and Marion Tournon-Branly were tasked with enhancing and outfitting the new auditorium.

The envisioned décor by Jo France, largely executed by Henri Mahé, a prominent designer of the era, remains intact to this day.

In 1955, Jo France transferred ownership to brothers Joseph and Louis Clérico, proprietors of Le Lido,[14] with Jean Bauchet assuming the managerial role.

Transformations in 1959 included renovations to the Moulin Rouge's kitchens, while the introduction of The Revue Japonaise in 1960 showcased Japanese artists and popularized Kabuki in Montmartre.

In February 1988, despite the original building's destruction in 1915, the Moulin Rouge celebrated its centenary with the premiere of the revue "Formidable," a prestigious event attended by Prince Edward.