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In Western culture it's typical to have a triadic list of meals in a daily routine: breakfast, lunch and dinner. Likewise, film structure generally fulfils the beginning, middle and end constituents of basic narrative. With Australia, Baz Luhrmann, in only his fourth feature film, has opted for elevenses, brunch, high tea, afternoon tea, supper, and an appetizer. As epic as the country itself, Australia is an ambitious spectacle that only belongs on the silver screen. Luhrmann, already inspired by The Wizard of Oz for Moulin Rouge, channels Victor Fleming's influence once more along with another uber-famous 1930s film from the director's catalogue, Gone with the Wind, and aims for similar plaudits based on the same template - a heroic larger-than-life blockbuster vying for eternal public recognition. Luhrmann's effort is certainly a marathon (a natural conclusion is reached approximately a hundred minutes in), but what a ripsnorter of a ride.
The amuse-bouche, a tiny bite-sized morsel before the hors d'oeuvre where the geography of the Northern Territory is established, introduces Nullah (Brandon Walters), the film's narrator and centrepiece. The audience soon learns that Nullah is a charming Aboriginal boy incessantly close to being caught by the white authorities of the age (the Second World War "Stolen Generations" feature prominently). In addition to being at the forefront of the questionable racial overtones of Luhrmann's co-written script (Ronald Harwood, Stuart Beattie and Richard Flanagan are the main scholars), Nullah also provides many comedic happenings. One in particular, involving Nicole Kidman's Lady Sarah Ashley's attempt at the Judy Garland trademark song "Over the Rainbow", is undoubtedly in the upper echelons of the funniest moments of the year. Humour is not the sole purpose of Nullah however. In his debut role, after only seeing a handful of films and never setting foot outside of Western Australia before joining the film, Walters shows extreme maturity in depicting the divisive cultural flow of Luhrmann's piece. An unlikely star may be born.
This brings us to the two (other) stars of proceedings. Nicole Kidman and Hugh Jackman, in their version of a Vivien Leigh and Clark Gable-like energetic and playful romantic saga, have all the erotic charge one would expect from two very beautiful people in a Golden Age-inspired melodrama. Kidman's public persona as a pernickety celebrity is perfect for her English aristocrat overwhelmed by the vast continent's heat and habits. The world's highest-paid actress is funny, brave, courageous, engaging, attractive and magnetic all at the same time - perfect attributes for a heroine amidst the Japanese bombing of Darwin and a gargantuan cattle drive across the Never Never desert! Jackman's Drover is the perfect paradox to Kidman's sophistication. The 2009 Academy Award host infuses Eastwood ruggedness and austere John Wayne machismo into the role Russell Crowe was offered first. Jackman must have relished all the blunt dialogue, chauvinism, and hyper-masculine tendencies his character exercises without ever becoming excessively grotesque or egotistical. The Drover is the shamelessly old-fashioned protagonist the rest of the film relies on. Jackman is faultless as the maverick cattle drover and turns the opportunity of creating a cinematic emblem into a reality - the inevitable romance with Ashley, which crosses class and edification boundaries, is believable as a result.
Unfortunately, Luhrmann is the catalyst for both the problems and the highlights of the razzmatazz. It's all very well utilising classics, such as the abovementioned Victor Fleming brace, for motivation, but when a director starts exploiting the disastrous Pearl Harbor for filmic initiative, the wrath of the critics is unavoidable. We have seen cattle driving escapades numerous times before but they are a staple of many Westerns and always add valuable suspense and action if done correctly and the director obliges here at an appropriate time in the picture. On the other hand, regardless of the impressive special effects in the Darwin bombings at the climax, the film should have already been concluded by then and the running time balloons unnecessarily. In addition, the way in which Aboriginal mystical powers are dealt with is very patronising. Luhrmann treats Nullah's grandfather as a glorified wizard without exploring his rich cultural heritage as well as he could have done. Furthermore, Australian nationalism is presented in a tongue-in-cheek manner seemingly forgetting how the white man has only just ceased poisoning the native community. It's uncomfortable history which cannot be fully criticised however, because an unbiased perspective does not exist to please everyone. Nonetheless, an enhanced explanation of the past certainly would have been welcome.
The summary
Luhrmann's long-awaited fourth film is categorically a manifestation of spectacle and style, with tour de force performances and a fascinating core plot. However, it feels like a first draft of two separate films affixed together lacking vital organization. Unashamedly overlong but a breathtaking exertion in entertainment.
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