Australia

Here is a film that works on multiple levels; thrilling action adventure, detailed period piece, moving romance, stirring war movie, and it also continues the resurrection of the western.

As a result, the sum of its vast parts make for a long running film (165 min), yet every minute is filled to the brim with captivating detail.

What Luhrmann does well with Australia is tap into the majestic allure of the outback, and amplifies it. This is no surprise, since he is a master at approaching his material with a fantastical bent, creating truly memorable and often surreal sequences, which Australia provides plenty.

Aboriginal culture and its relationship with nature, in particular, have fuelled Luhrmann's imaginative vision. The heart and soul of Australia lies within the mythology and customs of Australia's indigenous people, and their often tumultuous relationship with European settlers.

This is made flesh in the form of young Nullah, a mixed race Aboriginal boy on the run from the authorities, who want to forcibly remove him from his home, and place him in a "civilised" environment. He is played by Brandon Walters, who is impressive in his debut performance.

With Nullah playing narrator, the viewer is introduced to Lady Sarah Ashley (Nicole Kidman), an English aristocrat who inherits her late husband's cattle station, which is located in the Northern Australian city of Darwin. Caught in a rivalry with fellow beef exporter King Carney (Bryan Brown), Lady Ashley enlists the services of The Drover (Hugh Jackman) to herd 1500 head of cattle in order to fulfil a contract with the Australian Army.

Both Kidman and Jackman – two exceptionally gifted actors who, with the help of Australia, have overcome recent rocky patches in their careers – provide noteworthy performances and believable on screen chemistry.

Tall, pale, and thin, Kidman plays regal very well, courting an in full force stiff upper lip, that gives way to several funny moments, while trying to break out of her icy exterior. Of particular mention is her vain attempt to herd cattle; and a woeful rendition of "Somewhere over the Rainbow" to a clearly amused Walters.

Jackman, meanwhile, evokes Clint Eastwood, Harrison Ford, and Humphrey Bogart to fine effect as the no nonsense, hands on Drover, while also providing eye candy for female viewers.

Supporting roles are superbly fulfilled by top shelf Australian talent: Bryan Brown is effective yet given a disappointing limited amount of screen time; Jack Thompson seems to be gleefully enjoying his role as an alcoholic lawyer; and a scene stealing David Wenham is all evil smirks and nasty attitude as the films key villain.

Yet the most impressive character in Australia has to be its awe inspiring and vibrant landscape, which is captured magnificently by cinematographer Mandy Walker.

Unfortunately, the films use of artificial visual effects does clash with the natural beauty that the outback projects.

Australia is a film which clearly parades its influences on screen. References to The African Queen, Gone with the Wind, and Big Country are particularly notable.

Yet it is no mere carbon copy of the films from decades past. Rather, Australia is an enchanting throwback to an era of film-making which strived to entertain its audiences with dazzling spectacle and melodrama, coupled with a historical snapshot of circa early 1940s Darwin, and all of the beauty and ugliness that comes with it.

An entertaining romantic drama by Buz Luhrmann, old-Hollywood style.

The movie is set in the Northern Territory of Australia in the years previous to the involvement of Japan in the WW II, and tells the story of Sarah Ashley -an English lady who goes to Australia to try to get her husband back to England and ends becoming the head of their Australian cattle farm-, Drover -an independent free-spirited cattle and horse drover that works for her- and Nullah -a half-caste Aboriginal child who lives in the farm and struggles to live in a world in which he's alien to both blacks and whites.

This is one of those movies that you can say it is done as the movies of the golden era of Hollywood used to be - flashy wonderfully well-looking movie stars, great scenery and great studio settings, detailed recreation of the era's fashion, decoration, atmosphere, etc., , and a simple epic plot with a great love story. Australia has all of this, but also a little bit of corn, a thin plot, weak characters and flaws that are even more noticeable in a super-production like this.

The script is uneven and Manichean (with angels and demons) and mixes several movie genres (romantic comedy, romantic drama, war movie, western movie, and Aboriginal movie) with different degrees of success. The characters are descriptive and without emotional depth, and that affects the acting. However, I loved the depiction of the magic and wisdom of Aboriginal Australians, which is really well presented, with its magic beliefs and philosophical and environmental approach to the world. I think that part is truly genuine and real and reaches the viewer. I also loved that Lady Ashley's character is the one of a true modern woman, as she is a strong-willed free woman, a boss, the boss of her man, a woman who always leads, never submissive or afraid of being alone if she doesn't get what she wants. That's a post-modern woman, so rare to see in cinema nowadays.

The acting is unconvincing on the part of the leading actors. Hugh Jackman's performance is just OK in his role, while Nicole Kidman disappoints in the comic part of the movie, as she seems not to relax when she does so, but she warms up to her usual self when the story becomes more dramatic; she looks beautiful in this movie, like a 50s movie star, although those inflated siliconed lips were a distraction... Jackman and Kidman make a great couple, but their chemistry on camera was nothing memorable and you see yourself seeing two actors playing a couple, not a real couple on screen.

Most supporting actors are good in their roles, especially the Aboriginal ones, who really shine in this film. David Gulpilil is simply terrific, completely believable and inspired in his role of the Aboriginal Elder King George. Brandon Walters, despite his youth, offers a memorable performance, and his face really lights up the screen. Also great is the actor who plays Drove's Aboriginal pal, who also offers a solid performance. They are the ones who really give soul to the movie.

Despite what you might expect, the cinematography is poor. I was expecting the rare beauty of the Northern Territory to be captured by the always stylish and colorful Luhrmann. However, the part of the movie that happens during the dry season is completely opaque and colorless, ugly to watch, while the scenes happening during the rainy season are again limited in colors.To my disenchantment, many of the most colorful and beautiful scenes are digitally created or enhanced, while others seem to have been shot in big studios. Just the Mission island seems to convey that luxurious real feeling of the NT vegetation. Some of the most beautiful bits of the real land, the aerial vistas, look like if they had been taken for a documentary for National Geographic. Where is the emotional connection of the story with the land? In other words, the viewer doesn't go beyond what the eyes see. So, one wonders, why the movie was called Australia and why it was sold as a movie that captured the spirit of this country. To be honest, I thought that most scenes in the movie could have been shot anywhere in the world not in Australia.

The movie is a little too long. Most of the first half an hour could have been removed , condensed or presented in another way to give the non-Aboriginal characters more emotional background and depth. For example, we barely know why Neil Fletcher wants so badly Sarah's farm, and why he's so wicked in general but he loves a lovable sweet good- hearted woman. He is just an archetypal bad-guy, period.

Despite its flaws, I enjoyed the movie, especially the second hour and a half, and that heaven of a man that is Hugh Jackman. God Bless him and his holy body.

Baz creates another super enjoyable, visual spectacular! Although maybe not as good as "Romeo + Juliet" or "Moulin Rouge!" it certainly isn't much worse. "Australia" is a hugely enjoyable epic romantic adventure with plenty of exciting set pieces to keep you watching. I don't quite understand why nobody enjoys this? If Australia was made around the same time as "Gone With the Wind" I know that everybody would be drooling over it saying, "Oh it's the best film of all time!" Or whatever you call "Gone With the Wind" (I haven't seen it) because Baz has created a love-letter to those old epics and it's a welcome breath of fresh air to our screens.

At a hefty 3 hours long, I was expecting to find myself getting a bit bored along the way like parts in "Titanic" and even Peter Jackson's "King Kong" seemed to drag a wee bit at the start. However not once did I feel bored or restless during "Australia". This film isn't slow! It paces along beautifully, don't expect a high octane shoot-out because it's a romantic drama for God's sakes mammy! The screenplay (like all good epics) manages to make you laugh, manages to make you cry (no I didn't cry, but you might!) And it also manages to transport you on the journey with the characters. I found "Australia" absorbing and captivating.

The best part for me was the gorgeous cinematography. The whole film is magnificently shot, with some awe-inspiring scenery. Baz also shows off his incredible directing once again, one of the highlights being the exciting cattle herding across the desert. Baz injects that wonderful life into the film once again, as well as projecting a great story about a boy and his love for Nicole Kidman (no don't be silly!) And Hugh Jackman who sort of act as his surrogate parents. It's also about the love between Nicole And Hugh, although I think I would've liked to have seen better chemistry between them. It seemed like the hated each other at times when they were supposed to be madly in love! "Australia" also boasts a really evil villain! Almost on the same lines as Christoph Waltz in "Inglorious Basterds".

So with some great characters who we can care about, and also with some really exciting and beautifully shot scenes. "Australia" is another Baz masterpiece. It has all the ingredients for a superb epic romantic adventure. So why am I the only one who likes it?

I have been looking forward to 'Australia' for a long time. Though the experience from 'Australia' isn't as magical as Baz Luhrmann's spectacular 'Moulin Rouge' nor is it as well executed (on the technical side), but I still found it very enjoyable. 'Australia' works on multiple levels. The film is a mixture of adventure, action, romance and detailed history (like in any larger than life epic movie). All of them are put well together in the film. Luhrmann's vast imagination and creativity is very evident in his portrayal of the aboriginal culture and how that's where the heart of Australia lies. To move the story further, Luhrman shows the conflict of the aboriginals with the Europeans and its chaotic result. The film introduces plenty of historical themes and serves as a thumbnail. Yet, Luhrmann does not shy away from experimenting with the magical side of his film. The main story itself is very formulaic but enjoy it like you would see a Hollywood blockbuster and roll along.

The Australian landscape is dazzling to look at. It's a country that has always fascinated me and arises my desire to go there and such movies only remind me of that feeling. Mandy Walker's cinematography is fantastic allowing landscape itself to serve as a key character (for obvious reasons). The lighting could have used some betterment, especially in the action scenes where they used blue screen filter (it was painfully obvious). I also felt that the CGI was overused and at times it does interfere with the natural beauty in the background. The soundtrack is awesome as its a mixture of spiritual beats and old classics.

At the centre of 'Australia' is an Aboriginal child of mixed race, Nullah, who is played by a likable Brandon Walters. Even though Walters doesn't exactly get it 'right' with scenes that demanded him to display complex emotions, he does very well with the comic scenes and does not go over the top by 'being cute'. A vivacious Nicole Kidman is absolutely marvelous as the strong-minded Sarah Ashley. She displays her knack for comedy, is superbly restrained in the emotional sequences and shares a wonderful chemistry with her co-stars. Hugh Jackman's Drover may have been inspired by Harrison Ford's Indiana Jones, Paul Hogan's Crocodile Dundee and the dozens of famous Clint Eastwood characters. Jackman pulls off the part quite naturally. He and Kidman are magic on screen. The supporting cast is commendable. I liked the actors who play the colourful characters at Ashley's ranch. Jack Thompson provides some brilliant comic relief. Bryan Brown has a strong presence in a limited role and David Wenham is menacing as the evil Fletcher.

Luhrmann's attempt to entertain and amuse the viewer seems genuine and the man has done a lot of research and enlightens the viewer of Australia history. Forget these 'Titanics' and 'Pearl Harbours'. 'Australia' reminds us of the time when people enjoyed grand movies such as 'Gone With The Wind' and 'The Wizard Of Oz'. Through the numerous references, this movie pays tribute to many of the classics that have made a place in the history of cinema. Yet, this enchanting movie stands on its own.

"In a way Australia is like Catholicism. The company is sometimes questionable and the landscape is grotesque. But you always come back." Thomas Keneally

It's a shame old-fashioned epics are out of fashion because Baz Luhrmann's Australia is one of the best ever, a down under Gone with the Wind and Giant. The identification with a time and place is effective as the film highlights the grandeur of an untamable land and the despair of World War II. The romance of history and adventure, so much a part of the Australian character, is present in every frame.

In 1939 Lady Sarah Ashley (Nicole Kidman) voyages from London to meet her husband and sell their large ranch in northern Australia. His death and the competition with the largest land owner, King Carney (Bryan Brown), over supplying cattle for the Australian Army's war effort propel the plot into the epic struggle of driving 2000 head of cattle to Darwin. But more than that very American Western cinematic motif, right to the chase to stop the cattle from being driven over a cliff, is the struggle to save the Aborigines from cultural extinction.

Drover (Hugh Jackman) is the embodiment of the competent and romantic Aussie, who also is driven to save the Aborigines symbolized in the form of young Nullah (Brandon Walters). Nullah frames the film's story without sentimentality but with the wisdom of one who has learned mightily from his experiences. (The idea of having one's "story" is as aboriginal as an American having an automobile.) Luhrmann neatly dovetails the parallel stories of family and survival through Sarah and Nullah. The real prize for this film must go to the cinematography with its full-screen sweep and robust movement. As he did in Moulin Rouge, Luhrmann creates visuals that draw the audience in and thrill them with innovation and vitality.

Comparisons will be made with GWTW, unfairly because the latter is the original and grandest of the screen epics. Australia lacks the ample characters (although it is great to see a seedy Jack Thompson again) and the awful grandeur of the Civil War (WWII does not play that powerful role in Australia), but it has its style and humor (the opening Coen Bros. Oh-Brother-style sequence is exciting and funny).

Australia is a majestic holiday feast best seen on the biggest screen you can find.