Australia is a stirring epic that acts as a love letter to classic Hollywood and as a rallying point for national pride. At least, that’s what Mr. Lurhmann’s intentions were. Alas, his intentions far exceeded his talent as a storyteller. Ironically, the film is all about telling stories. Australia doesn’t have a hint of an original idea within its bloated two hour and forty minute runtime. Lurhmann attempts to meld new school CGI with old school Hollywood filmmaking, invoking David Lean and George Stevens. There’s even a John Ford shot that looks to be lifted right out of The Searchers.
The film begins as a romantic comedy with Nicole Kidman as the prim and proper Lady Ashley arriving in Australia to find her husband murdered and is forced to take over his ramshackle cattle farm. There, she meets the rough and rugged Drover played by People Magazine’s sexiest man of the year, Hugh Jackman. They hate each other instantly which, of course, means they’ll fall in love by the end of the first act. Lady Ashley also cares for a half-Aborigine/half-Caucasian boy who is in danger of being taken away to a Catholic-run orphanage. The purpose, to ”breed the black out of him.” Don’t forget the film’s villain, played by David Wenham (300, The Lord of the Rings), who does everything short of twirling a handlebar moustache. The movie turns into a Western where Lady Ashley and the Drover assemble a motley crew to herd the cattle into Darwin. Had Australia ended here; I’d be giving it a more glowing review.
The plot unfolds in an utterly predictable fashion and Kidman overacts a bit too much in the beginning, but the production is lavish and entertaining. Unfortunately, the film plods along into a war drama that’s as emotionally riveting as Pearl Harbor. Kidman is separated from those she loves as CGI planes bomb CGI buildings leading to big CGI explosions. The film attempts to bring to light the racial tensions that existed at the time, but tends to whitewash class and ethnic relations. It borders on condescension with its portrayal of Aboriginal mysticism.
Luhrmann hasn’t made a film since the garish musical Moulin Rouge due to developing Australia and, before that, a failed attempt at an Alexander the Great biopic. Directing-wise, Luhrmann hasn’t lost a step as he’s created a visually immaculate production. It’s a stunning picture at every level. The acting is good with Jackman in particular ably stepping into the Clark Gable role. But, the story isn’t there to back it up.
Rating: ** ½
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