Combining the forces of two hot stars, a serene land of beauty and a strong, genre-bending story, Baz Luhrmann's Australia hits the mark in more ways than one. From the breathtaking visuals to the strong performances, everything comes together in this gripping, emotional tale of a woman, destined to live a moralistic and happy life, who finds peace with a cattle drover and a long-abandoned child.
Boasting a final running time of just under three hours, many viewers will be immediately turned off, not wanting to sit still for that long; I am with you on that. However, after sitting there, watching the characters and story progress from an innate idea to a mature and experienced epic, I can honestly say that it is three hours well spent. Sure there was a mini montage that could have symbolized the ending of one film and the beginning of the next, but it didn't, and for some strange reason, it didn't really matter.
Never before has a film sprung across so many genres, dealt with so many topics and appealed to so many viewers. From the visually stunning, though sadly fake, skylines to the breathtaking landscapes, the film is as visually alluring as you can get. The color schemes, the contrasting textures and the ridiculously awe-inspiring cinematography help to propel this film far beyond my early expectations.
However, no film has ever survived on its visual appeal alone, and Australia is no different. Instead, the film captures your attention with its visuals while backing it with two strong performances from Nicole Kidman and Hugh Jackman, as well as a strong, though long, central story.
First let us tackle the work of Nicole Kidman and Hugh Jackman, ironically both natives of Australia.
For Kidman, it is her bold stance as a woman of independence that helps her sell the part of Lady Sarah Ashley. Forced to deal with her husband's death, Kidman brings her character's confidence and free-spirit to the forefront, allowing all other characterizes to fall into place as needed. Her performance is lively and energetic, bringing a bright spot amongst an emotional story that is sure to have your heart in check from beginning to end.
However, the same doesn't go for Hugh Jackman. Using a stern, rough approach, Jackman successfully encompasses the mold of The Drover. Once a contracted cattle mover for Ashley's late husband, the Drover has a series of decisions that will not only lay out the fate of himself, but all those around him. His intentions are always good; however, his actions don't always come across as such. His presence is both desired and required if Lady Ashley is going to continue her husband's business, a commitment that Jackman's Dover isn't quite sure he wants to make.
Together, both actors create a substantial presence on the screen, building a strong chemistry and diving into their roles head first. Their moves, interactions and delivery are all done with articulate precision as both stars work within themselves, creating a bond with each other as well as the audience. As a result, viewers become one with the story, experiencing the emotional toll of each event along with those on screen. Their work is intense, and in return, audience members are able to fully recognize and appreciate what they see.
Yet, even with the outstanding visuals and stellar lead performances, the film would be nothing without a concise and effective story. Taking place shortly before World War II, Australia successfully grasps the emotional toll of a woman struggling to survive after her breadwinning husband is murdered. But more than that, the film is about discovering yourself, accepting change and living for what you believe.
Still, the film was nowhere near flawless. Other than the three hours runtime, many will not like the excessive use of CGI that helped to create classic landscapes and unique color scheme. However, within the course of the film, I found myself engulfed in the story as I connected with the characters and became part of the adventure. Sure the film worked to be Academy-friendly; but regardless, it was a great film, and in the end, that is all that counts.
