★ 7 / 10
King George angry at them white fellas. King
John Chard
King George angry at them white fellas. King George say them white fella bad spirit. Must be taken from this land. Australia is directed by Baz Luhrmann and…
King George angry at them white fellas. King George say them white fella bad spirit. Must be taken from this land.
Australia is directed by Baz Luhrmann and Luhrmann co-writes the screenplay with Stuart Beattie, Ronald Harwood, and Richard Flanagan. It stars Nicole Kidman, Hugh Jackman, David Wenham, Bryan Brown and Brandon Walters.
It took a bit of a kicking from the pro critics upon release, where the consensus is that at a cost of $130 million this intended sprawling epic is an ambitious flop. For the record at the box office it practically made double its outlay, so certainly wasn't a financial flop.
It's a mixed bag for sure, a film of two differing halves. First half sends Kidman's English aristocrat to Northern Australia after she inherits the sprawling Faraway Downs Ranch. Here she finds herself in the middle of a dirty take over plot and reluctantly makes a working pact with Jackman's stock-man Drover. Seeds are sewn here for a bit of a screwball relationship, all while a cattle feud brews and the Aborigines at the ranch - particularly young Nulllah (Walters) - are in fear of racial tension. Pic then flip-flops into a love story, a war story (as the Japanese attack Darwin) and the bile strewn historical strand that features the "stolen generations" of half-white/half-Aboriginal children.
With all this going on, as Lurhman nods to classic epics from classic era past, the vistas are stunning and the hard work of cattle ranching is given genuine credence (helps having the rugged Jackman leading the way). Set pieces are exciting, the Japanese aerial attacks realistic for dramatic worth, while the chemistry between the leads, a worthy child performance from Walters and a quality weasel villain turn from Wenham ensure performances don't harm the pic in that department. There's even the likes of Ben Mendelsohn and John Jarratt in secondary support slots.
It isn't all it can be, and tonally it feels like there might have been some behind the scenes interference (three co-writers probably didn't help). Yet there are some genuine moments of fun and beauty here, mixed with some heart string tugs and reflection of an historical time that should never ne forgotten. Luhrman reached for "Somewhere Over the Rainbow" and didn't quite make it, but it's honourable and has some damn fine craft for entertainment purpose. 7/10
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★ 7 / 10
contains the paradox of almost all films directed by Baz Luhrmann;
AlsExGal
It starts in a choppy, aggressive, rather goofy style, and then removes its brittle shell to reveal something far more deep and emotional underneath. This…
It starts in a choppy, aggressive, rather goofy style, and then removes its brittle shell to reveal something far more deep and emotional underneath. This extremely long (165 minutes) and astoundingly expensive ($130 million) film found few takers in 2008, but if you get past those early passages (which do contain a very misguided brief moment of kangaroo poaching), you end up with something that feels floridly rich, like a Golden Age Hollywood melodrama.
The episodic story finds Nicole Kidman as an English woman who comes to Australia in 1939 on reports that her estranged husband, who lives there, has been stepping out on her. She arrives to find out that he has been murdered, and that she now owns his ramshackle property much coveted by her husband's powerful killer. Needing someone to tend the property, she reluctantly turns to a man she can't stand (Hugh Jackman), and she also temporarily takes in a half-Aboriginal boy left with no guardian after his grandfather was falsely imprisoned.
Of course, as time passes, opposites attract and Kidman and Jackman, both widowed, fall for each other. But their happiness is not only threatened by the aforementioned villain but also because of the trevails of WWII.... If you are looking for something subtle, look elsewhere. But the film is visually stunning, rather endearing, and emotionally satisfying. I enjoyed it a lot more than some much more praised titles of the era.
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