Australia
Australia
A romantic action-adventure epic set in Australia prior to World War II that centers on an English aristocrat (Nicole Kidman) who inherits a large ranch. When English cattle barons plot to take her land, she reluctantly joins forces with a rough-hewn cattle drover (Hugh Jackman) to protect her ranch. Together they experience four life-altering years, a love affair and the bombing of Darwin during World War II.
Audio: English, French & Spanish: 5.1 Dolby Surround Language: Dubbed & Subtitled: English, French & Spanish Aspect Ratio: Widescreen: 2.35:1 Watching the early reels of Australia, there’s certainly no doubt who’s in charge: this could only be a film by Baz Luhrmann, that wacky purveyor of all things over-the-top. In
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“Australia” as seen from another point of view,
I did not see this in theatres on release as the trailers made it look like a big, overly wrought romance… a la Gone with the Wind meets Cimarron and not my cup of tea. Nor am I a fan of Nicole Kidman, so no appeal there. And when I finally saw it, I found it nothing like I expected nor was it much like many of the other reviewers have portrayed. Yes, it used broad, almost stereo-typed characters to carry the “Anglo” story line, and yes, there were actions in the movie that required the “willing suspension of disbelief”; that hardly seems unusual.
However, the thing that made the movie unusual in a most positive way was the telling of the story from the point of view of the racially-mixed “outcast” little boy, Nullah. This introduced an entirely different point of view, signficantly, at least for Americans, of the characters and the story line. While I do not pretend to know much about aboriginal culture, the concepts and importance of “singing” and “stories” were presented sufficiently well to open up the ideas to the large portion of the American audience which likely is unfamiliar with this. A number of strong and appealing cultural ideas were referenced or illustrated either in the dialog / actions of the aboriginal characters or occasionally the brief comments of “The Drover”: the geographical mapping of the aborigines through “singing” (music); the importance of one’s story and how one connects to the “tribe” / ancestors / universe through “singing” (stories). In fact, the word “sing” as used by Nullah and The Drover in the movie clearly has a richer meaning in this aboriginal context, one which cannot easily be translated directly into American English and which is worth exploring.
I thought Jackman did well in a role that called for a man’s man–in American movies cowboys are not too chatty, either…men of action, mostly defined by showing up and doing, so I remain puzzled that other reviewers thought Jackman was too silent. However, the actors that stole the show were the aboriginal actors. Uncle George was marvelous and mystical throughout–totally elegant, grounded, and convincing as the shaman “singing” (guiding with knowledge) his charges through the desert. The Drover’s brother-in-law was excellent, playing his role with a quiet dignity.
But this movie was Nullah’s story, from beginning to end, and the beautiful Brandon Walters is a revelation as to what a pure talent can produce when given the right chance; for that we can thank Mr. Luhrmann’s effort to get that key role right. I do not know who actually did the singing (humming, chanting) which seemed to eminate from Nullah–if it was dubbed or done by Brandon Walters. But this movie has indelibly burned in my mind the earnest, trusting face with huge brown eyes in and the pure, musical tones of the child-mystic when Nullah utters this simple line (and variations on it): “I sing you to me.” For this line alone, whether taken as a simple plot facilitator or as a greater metaphor, I would see this movie again and again.
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|Baz salutes Howard Hawks,
I love Howard Hawks’ films…Bringing Up Baby, His Girl Friday, Red River, and Rio Bravo are amazing pieces of entertainment. As I was watching Australia, the new Baz Luhrmann movie with Hugh Jackman and Nicole Kidman, I kept thinking…man, Baz must really love Hawks’ movies, too.
As evidenced by the films above, the mismatched couple who fight and fight until they realize they’re perfect for each other (see Much Ado About Nothing, Taming of the Shrew, and Moonlighting as other examples of the form) and the group of underestimated misfits who come together to fight evil are two big elements used again and again by Hawks. Throw in a bit of John Ford’s The Searchers and its hard look at racism leading to inhuman deeds and mix well and you have…Australia.
The problem modern audiences may have with Luhrmann’s new movie is it’s very, very earnest. This is straight ahead epic storytelling with its heart on its sleeve and hat and boots with never a wink to the crowd in the theater to say “ain’t these people quaint”. You either buy in or you don’t. If you do, like I did, you’re in for a hell of a ride.
This, I feel, is the flip-side to The Dark Knight. Good and evil are trapped in something akin to a battle and an embrace in Nolan’s Gotham City. You root for Batman, but he does stuff that is on the wrong side of freedom and civil rights. The Joker is pure crazy, but he’s the most mesmerizing character in the film. In Australia, there are good guys and bad guys and you are either really good or twirl your mustache evil. The main villain actually may be a bit too two-dimensional in that aspect, but it didn’t hurt my overall enjoyment.
Why? Well, epic melodrama is hard to pull off…I’m talking about the real stuff here. The recent BBC production of Bleak House is a great example. There are very good and very, very bad people in that story, but the acting is so fantastic you rarely if ever catch yourself rolling your eyes (like whenever I’ve watched Smallville…see: bad epic melodrama). Kidman and Jackman sell their characters…the displaced Englishwoman and the rough-hewn “Drover”. They are thrown together just to, initially it seems, thwart a nasty cattle baron from monopolizing the beef industry in the country. But the other big story, the main one in fact, centers around Australia’s “lost generation”. These were Aboriginal children who were fathered by white men who didn’t claim them. They were taken by the government, the mothers had no rights, and handed over to the church to be taught to “act white” and then work in the servant class. Nullah, played by the fantastic child actor Brandon Walters, is one of these “creamies” who has been hidden on the ranch now owned by Lady Sarah Ashley (Kidman). Lady Ashley discovers what is going on, is horrified by the law, and works to keep him hidden as well. Why the Drover cares so much about Nullah becomes clear later in the film (no, it’s not what you think…that would be too easy) and Jackman’s experience with stage and musical work does him proud here. He can do earnest better than almost any actor alive when he needs to and his later use of the f-word (the only curse I can remember from the entire film) hits so hard, in just the right emotional moment, that it kills. Russell Crowe was originally cast as the Drover but backed out. If Crowe had done the film, and I have liked him in other things…the Napoleon-era British navy film that I can’t remember the name of right now, it would not have worked. Crowe never loses that bit of edge and the Drover, at one point, really has to fully break down and become completely vulnerable. Jackman shines at that point.
Anyway…a warning, the movie is long 2 hours and 40something minutes, but I didn’t realize that until I had left the theater. I saw it alone…I was out of town at a pediatrics meeting…and that’s a good thing. I didn’t have to hide from Holly the few times the movie hit me a bit too hard and do that cough-throat clearing thing we dudes do to cover up a stray tear.
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|Who says they don’t make em like they used to?,
I was looking forward to seeing this movie when it was release late last year given all the hype, and was not dissappointed!
Director, Baz Luhman, has served up a slab of nostalgia ala Australian style with all those beautiful elements we love from films of the 40′s and 50′s, breathtaking, sweeping landscapes, gorgeous costumes and two fine actors in Kidman and Jackman who get the essence of the film. It nostalgia in every sense of the word, in every frame. The acting style reminds us of Bogart, Grant, Bacall and Dunne. The story is epic in every way and just lovely. I loved the salute to “The Wizard of Oz”a really nice touch!
Of course we all know how it’s going to end. Watching Australia was like eating a box of Quality Street chocolates. Sure I know what I’m getting, but I still love it.
For those of you who want to spend a few hours (and I mean a few; it’s almost 3 hours) being completely entertained then thisis the movie for you. I only wished they had inserted an interval on it’s theatrical release and made the whole event at the movies a real nostalgic experience.
I can’t imagine why anyone wouldn’t like this movie, unless you just aren’t up for a feel good picture. I want to see more movies being made like this!!!! Well done to all!!!
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