Australia - a long but unspoilery review

[dangermousie]

Oh my goodness!



I just got back from Baz Luhrman's magnum opus Australia and I am breathless, hormonal and in need of a cigarette (if I smoked, that is - cake will have to do).

I love.

Oddly enough, I can completely understand why this movie split the critics completely down the middle - it is a bit too long (but I am puzzed as to what to cut out) and, more importantly, this is an incredibly old-fashioned movie: not just a homage (the way Moulin Rouge was to a musical and Bollywood), but an honest-to-goodness old-fashioned epic. This is a movie that could have been made thirty, fifty, or even seventy years ago and you could drop it back then, barring the lovemaking scene or the awareness of the aboriginal issues, and it would work perfectly. Clark Gable as the Drover and Myrna Loy as Lady Sarah and we are set! I love those classic movies and so this was just a huge, huge pleasure but if you are used to ironic, overelaborately plotted/dialogued movies, you will be at a loss.





Another thing that this movie made me think of (probably because I've been thinking of silent movies today) is that Baz is the most "silent movie" director working today. His movies are not about dialogue, never about dialogue but the purity of images. Even in movies where words are ostensibly important: the joy of song in Moulin Rouge, or Shakespeare's gorgeous poetry in R&J, the main thing that drives his movies is always purely visual. You could almost make them silent with title intercards. Take out dialogue (and replace it with a soundtrack) and the core magic remains - the images. In this movie what sticks with me is not the dialogue (though it's fine enough) or even the plot (though it's quite good) but the images: the sheer sweeping red vistas of the Northern Territory, Nullah and his Mother floundering among water in the tank, Lady Sarah in her red dress striding through the crowd, the tight close-ups of the Drover weeping about his loss at the bar, the herd of cattle running towards the cliff, the Japanese planes swooping low...images, images. I wish I had this movie to screencap already! It's one of the most gorgeous things I have seen.



In a way, Luhrman's strength is also his weakness. His strength is not social commentary but that almost unique ability to capture the hothouse of that passion, that first emotion that makes you feel as you will die if you don't have that person you love right now. He tries to address the social issues and he doesn't do it badly or anything, but in comparison with the power of his visuals or the almost primal tug of the love story, it pales. When the movie tries to address social issues (i.e. the Stolen Generation) I found my attention wandering. Maybe I am just a curmudgeon but movie children are almost never my thing and I was pretty bored with the character of Nullah. I didn't pay my $10 to watch a little kid mangle English and run around - I paid it to see Kidman and Jackson sex it up. Though if a movie child is the price I have to pay for a shirtless or weeping Hugh Jackman - I'll deal.



Because yes - what worked the most for me in the movie, in addition to the sheer power of images, was that tug between Lady Sarah and the Drover. Kidman and Jackman have purely incredible chemistry - I found myself almost forgetting to breathe when they are on screen together(side note: I have never got what ladies saw in Hugh Jackman before but oh boy do I get it now!). The scenes that stay with me are all about their longing or fulfillment - the scene in the bush when she is tipsy and tries to teach him to dance and they stumble and he leans in as if he can't help it and I thought I the viewer would die if they did not kiss right then and there and the release when the did was almost visceral. Or when they talk about their past, or the scene at the ball, or in the rain, or the love-making scene (which is just so sexy it reminds me what you can do without showing nipples or crotches if you know what you are doing), or the scene when he looks for her after the Darwin bombing.



The bottom line: it's a flawed movie but a gorgeous and romantic one (and surprisingly and on-purpose-funny in parts), so I highly recommend.

A parting image..."Down Under" has a whole new meaning to me now :)

Comments

[mycenae.livejournal.com]

I wanted to like this, but it just didn't work for me. It started off as this broad screwball comedy, but then swept off into tragic! dramatic! without stopping to make me emotionally invested in the characters. It seemed like at the beginning Luhrmann was goofing on the old-fashioned epic style, but then later embracing it seriously and expecting the audience to do so as well. Maybe I'm just too much of a modern viewer? It just grated on me that the movie practically had flashing signs of, "Feel happy now! Feel sad now!" No, movie, I will not wantonly give you my emotions! You must earn them!

The Stolen Generations part of the story didn't work for me, because it seemed to require a different level of intellectual and emotional engagement than the hyperreal romantic epic that surrounds it. Trying to deal with a horrific historical truth in that context just creates cognitive dissonance.

I'll probably watch it again after it comes out on DVD, and maybe it'll gel better for me the second time around, knowing what to expect.

[dangermousie.livejournal.com]

I am used to these tonal mood-swings because both Bollywood and a number of old movies I like (e.g. History is Made at Night) have them but it isn't something common to modern Hollywood movies so I can see how that would be jarring to a modern viewer. The movie was utterly unironic and that is another thing that would either work or not, depending on one's preferences. Another old-time thing (war-time romance movies like Dark Angel or Smilin' Through made in 1930s and blockbusters at the time would come across almost unbearably serious-and-thus-campy-corny to modern eyes but I adore them).

But generally I come at it from the perspective of someone who loves (in addition to old movies) Bollywood, Korean dramas, and Victorian literature but isn't so fond of modern movies.

Re: Stolen Generations. I am not fond of children in movies, period. But alsothe fact remains that the topic is suitable for either a book, a documentary or (at most) an arthouse movie and none of these are what I like Baz for or his strength so it didn't hold my attention at all.

[biases.livejournal.com]

Let me just preface this with an EEEEEEEEEE~! of delight because I've been stalking your journal for about a week now dithering about how best to ask to friend you and lo and behold I checked my emails to find you've taken all the hard work out of it! Thanks for adding me; you seem exceptionally awesome. ♥

I'm definitely with you on the epic scale of Australia and I like how you've described it as old-fashioned because that's how I consider it as well. I saw it on the weekend without having seen any reviews or trailers beforehand - all I knew was Baz directed it, Hugh and Nicole were the main characters and it may or may not involve singing. I think going in with no expectations was a good idea because I watched a trailer for it this morning and it had planes! and explosions! and betrayal! and while those were all present in the film they weren't foregrounded; it really was a story about the people and by that I mean the handful of main characters, not the Aboriginal people or even the Australian people at large, but the people presented to us with their strengths and weaknesses and hopes and fears. They were real to me, from the rugged Drover to the kindly Captain to the good-hearted pub owne, and they made me care.

I went with a friend who felt the romance was too rushed and a bit hard to believe in, but you're right, Hugh and Nicole have amazing chemistry and Baz is gifted with the ability to make the audience feel the weight of each glance, each breath, each touch. I'm Australian and I came out of the cinema with a new appreciation for my country - it truly is so beautiful, and colours were used to such wonderful effect in every scene. Sarah's red dress, the black charcoal on Nullah's face at the cinema, the various blues of the sky as the camera panned down. So lovely!

And so funny in a number of places - the kangaroo scene at the beginning was brilliant. :)

[valkyriesailor.livejournal.com]

I see you already watched it. To tell the truth, after I read your post I know two things: I understand why you loved it AND now I know that this is not really for me.
But if by some miracle I still get it before you, I'll remember to make caps. ^^

[artic-fox.livejournal.com]

Thank you for the wonderful review! I am looking forward to this film so much, because although the critics are split, my flist loved it, and I trust you guys far more! Besides, being Antipodean I find it very interesting, and I trust that this film will do for Australia what Lord of the Rings did for New Zealand in terms of portraying it as a beautiful country.

♥ Hugh Jackman

The only other almost "silent" director I can think of working today is Terrence Malik: The New World, specifically. Sadly it wasn't as gripping as this sounds, due to a slow moving plot, but is one of my favourite visual films as everything is so natural, with little dialogue. The Fall, this year, was also a very beautiful film. I love pretty films.

[joonni.livejournal.com]

you got me.

[animeshon.livejournal.com]

Oh God! I just can't wait to see this movie. It looks absolutely amazing!

[bae-mac.livejournal.com]

hmmm...it's by Baz Luhrman. I am going to watch this.

=D

[elvensapphire.livejournal.com]

His movies are not about dialogue, never about dialogue but the purity of images. That's why I love his work. Something about the beauty of the imagery, especially as a person who loves old movies and art, is always so striking and different in his films. I won't get a chance to see this in the theatres, but I definitely will once it comes out. It looks lovely, and I expect I'd like it, even through the lags, just for the epic sweep and the love story.

[miss-dian.livejournal.com]

Ah I can't wait to watch this! :D

[dangermousie.livejournal.com]

How could I not friend you after I stumbled on your brilliant expose of Rain's hideous clothes in Full House? It was my first kdrama and those clothes stuck with me - it's kind of kdrama designer union to be good to the less fortunate and employ blind designers!

I also knew very little about Australia going in - other than the time period/setting and the leads (+ Faramir :P). I saw a trailer or two but that was it. I didn't even seek out caps or spoilers (except for the ending. If Hugh or Nicole were going to die I needed to know it before going in - and despite that I was still terrified at the end!). I agree that despite its epicness, it's ultimately a small-scale story, just in gigantic surroundings.

who felt the romance was too rushed and a bit hard to believe in, but you're right, Hugh and Nicole have amazing chemistry and Baz is gifted with the ability to make the audience feel the weight of each glance, each breath, each touch

Oh yes. I don't think it was too rushed and not just because of the chemistry (which helped a LOT). A lot of it is based on sheer physical attraction between them (which she actually experiences earlier than he does, heh). Not to mention that despite their differences, they both have grit and a deep-set of fair play which they recognize in each other. And they just came out of a life-of-death situation together which equals adrenaline but also bonding.

But ultimately I am trying to explain the visceral and purely subjective reaction I had at the cinema - "this is so right!"

I have to say, both Sarah and Drover get quite a good deal out of their relationship, even leaving love out of it. Not to be too blunt, but Sarah must be sex-starved: I doubt she cheated on her husband but she hasn't seen him for a long time (and even then it didn't seem a love marriage) and that would play into it - especially if the guy is a very good person and compatible with her in addition to attractive to her, and someone who can manage her ranch, which is a necessity. And Drover gets to do what he loves - run around with cattle for half a year, but also have a home and a woman who loves him to come home to.

And so funny in a number of places - the kangaroo scene at the beginning was brilliant. :)

I laughed so hard I nearly choked. A lot of things in the beginning were hilarious but that one took the cake.

[dangermousie.livejournal.com]

Yay, caps!

This movie is very idyosyncratic in an unusual way: it would be very very mainstream in 1980 but not now. Its quirkiness is its old-fashionness. I am actually happily surprised that someone greenlit however much this movie cost because it must have cost a lot but it's not a "mainstream" movie at all, in a modern sense.

[dangermousie.livejournal.com]

It hasn't opened in UK yet? I am always bewildered by the fact that big movies don't open at the same time all over.

And I think the movie does it for the continent - it protrays it so gorgeously it made me want to get on a plane as soon as I went out the theater.

I have finally discovered why people are nuts about Jackman (I am one of only 5 females on the planet who never got what the fuss over Wolverine was about). Mmmm. Need to find more movies with him.

I haven't seen much Malik but am interested to check him out just for the visuals.

[dangermousie.livejournal.com]

Yesss!!!1 *passes the koolaid*

[dangermousie.livejournal.com]

It has its slow spots but the emotional highs and the visuals more than make up for it. Of all the Hollywood movies I've seen this year it's my favorite, and probably in my Top 3 for the year (with Mongol and Slumdog Millionaire).

[dangermousie.livejournal.com]

Yay!

[dangermousie.livejournal.com]

Yes, the lags are compensated by the visuals. Some are literally jaw-droppingly amazing. Add all that swirling color and emotion and I think I am in love.

[dangermousie.livejournal.com]

It is so so SO good!

[lesbiassparrow.livejournal.com]

I was interested in this until I a saw the trailer; the one I got started off with Kidman explaining the meaning of Australia to an aboriginal girl, then proceeded to convince me via the costumes that this was set in the 1890s and end up with the bombing of Darwin. I am guessing from your review that it is a bit more than the weird melange I saw. :)

(And that has to be the worst trailer I've ever seen: this should be just my melodramatic cup of tea, but it managed to repel me rather than attrack...)

[dangermousie.livejournal.com]

Hmmm...the scene with Kidman explaining the meaning of Australia to an aboriginal is certainly not in the movie. All the outfits looks 1930ish (if sometimes, and hilariously on purpose, way over-elaborate for the Outback. Lady Sarah's expressions at the gradual destruction of her wardrobe are priceless).

I don't remember the trailer well (though I might have seen it at some point) but there is NOTHING that would keep me from a pretty movie set in 1930s-40s :P

[artic-fox.livejournal.com]

No, it hasn't. It opens on Boxing Day. Even more bewildering is that Australia is open in Australia now (obviously), but New Zealand right next door still hasn't had the film. Go figure. I'm a strong advocate for worldwide release dates.

I've always been a fan of Hugh Jackman. He can do clean cut and he can do scruffy. Some people don't like either, some people like both, and some people like one or the other. Personally, I don't mind ;)

I don't think Malik draws you in the same in terms of plot, but I think The New World holds the record for most amount of film shot for one movie, and he refused to use artificial lighting, had it all set outside. It is very historically accurate which apparently he was quite adamant about.

[bae-mac.livejournal.com]

As for the last pic...I had to laugh at the flower om Nicole Kidman. =D

[ulkis.livejournal.com]

His movies are not about dialogue, never about dialogue but the purity of images. Even in movies where words are ostensibly important: the joy of song in Moulin Rouge, or Shakespeare's gorgeous poetry in R&J, the main thing that drives his movies is always purely visual.

That's the one reason I see Baz Luhrmann movies. I like them, but never love them, but oh, the imagery is so pretty. I love Romeo and Juliet, and there's a DVD of a La Boheme he directed at the Sydney Opera House. It's so pretty. I might see Australia, because it seems better to see it on the big screen, and the last one Luhrmann movie I saw in the theater was R&J.

[dangermousie.livejournal.com]

I like both scruffy and clean-cut, it seems. Jackman in Australia was, arguably, the sexiest thing I have ever seen on screen. I mean it: ever.

[dangermousie.livejournal.com]

Especially since she is being...ahem...deflowered :P

[dangermousie.livejournal.com]

I have no idea if you'll like this movie but it's true: the visuals are incredible and the sweep is best seen on the big screen.

ETA: I have so much love and admiration for his version of La Boheme.

[artic-fox.livejournal.com]

Oooh, that is a bold claim! I can't wait to judge it for myself! :D

[bae-mac.livejournal.com]

lol! yeah...=D

I wish Hugh Jackman got the right flower though...LMAO!

OK..I'll stop now.

[kitkat-cat.livejournal.com]

This still hasnt opened in the UK, although Mr. Lurhmann was on BBC Breakfast talking about it and gushing over the lad who acted as Nullah i think.

All I can think is 'eee, Hugh Jackman speaking in his own accent!!!'

[dangermousie.livejournal.com]

Hugh Jackman speaking in his own accent!!!'

And he is shirtless while doing it too :)