Where's Ben Affleck When You Need Him?
Australia / Daniel Carlson
Australia is as big, lumbering, vast, dry, and aimless as the catch-all title would lead you to believe. The fourth film from writer-director Baz Luhrmann is the one where his ambition finally got the best of him, when his desire to tell an all-encompassing story buckled under the weight of cloying grandiosity, wildly uneven tonalities, and just plain old bad writing. Luhrmann has always been a transformer: He takes the story and passes it through his own unique style and verve until it becomes something bigger and weirder and often more engaging than it may have once appeared on paper. Nobody figured that putting the Montagues and Capulets in Hawaiian shirts would really work, or that having Ewan McGregor fall in love with Nicole Kidman inside an elephant’s head would be transportive, but it did, and it was, and that was thanks to Luhrmann’s confidence and skill. But Australia replaces his reach with egomania, and his ability to walk a tightrope between genres with a desperate grab at any story that walks by. The best that can be said for it is that at least it’s a beautiful failure.
Set primarily in 1939, the film opens with a brief title crawl that hints at the trouble ahead, as text on the screen spells out how the chunk of Australia referred to as “The Territory” was a place of adventure and romance; and how after Pearl Harbor was bombed, the Japanese turned their ships south to bomb Darwin, Australia; and how aboriginal children at the time were taken from their parents and assimilated by the government into white society, and how they were later referred to as “the lost generations.” And these are just the few paragraphs on screen before anything has actually happened. The film then shifts to a typical (for Luhrmann) blur of plot points and introduction and rapidly spouted exposition, most of which is narrated by Nullah (Brandon Walters), a half-white, half-aboriginal boy who serves as a kind of chorus for the story. The basic shakedown is this: King Carney (Bryan Brown) owns most of the land and cattle and stands to make a profit selling it to the army, but the lone holdout against him is Faraway Downs, a ranch owned by Lady Sarah Ashley (Kidman) and her husband, who reside in England. Sarah flies to the country to check up on a business deal her husband is trying to make, and upon landing she meets the Drover (Hugh Jackman), a cowboy who’s done some work for her husband and agrees to ferry her — in one of the films many, many traveling sequences — out to Faraway Downs in exchange for work droving cattle up to Darwin.
If the film can be said to have a main plot, that’s it: In order to save Faraway Downs, Sarah and the Drover team up with a few other riders and Nullah to push the cattle north to Darwin and collect payment. But Luhrmann ambles in so many other directions, and in so many erractic fits and starts, that even now, only two hours after leaving the theater, I’m having trouble identifying any single sequence or story in order. Part of the problem is that Luhrmann set out to make a romantic epic mixed with historical fiction mixed with weird treatise on race relations, and as such the film never feels remotely settled on what it wants to be. Every scene or line makes sense within the context of the previous five minutes (at most), but examining the film on a bigger scale makes the whole thing look disjointed and confused. At one point on the cattle drive, Sarah looks from her tent to see the Drover lathering his bare chest before dumping a bucket of water over his head to rinse off, the whole thing shown in the kind of goofy slow-motion that does as much to highlight Luhrmann’s desire to have the viewer understand his self-awareness as it does Sarah’s burgeoning lust for the cowboy.
As the cattle drive gives way to other plots, it becomes increasingly clear that Luhrmann’s film isn’t going to be about anything other than itself. One of the other story threads involves tensions between whites and indigenous Australians, and it’s handled with a lack of grace borne of the fact that it doesn’t gel at all with the larger narrative. Luhrmann’s shortcoming isn’t that he whiplashes from comedy to melodrama and back again; if anything, it’s that ability to elicit laughter and pain so close to each other that defines his earlier, better work. Rather, it’s the way Luhrmann can’t find a way to genuinely integrate the love story and the racial strife. Romeo + Juliet and Moulin Rouge both had at their center a story of love against the odds, and everything else that happened spun out from that. But Australia jumps between parallel stories, both running forward but never touching, and the result is a film that’s constantly trying to be one thing while not forgetting the other.
Luhrmann has rounded up just about every even slightly recognizable Australian actor for the film, but it’s his leads that ultimately make and break the film. Jackman is ridiculously charismatic and could hit all the notes required of the Drover — arrogant swagger, lovelorn, adventurous, etc. — without even trying that hard. He’s likable and handsome, which is all the role requires of him. Kidman, meanwhile, is beginning to be hamstrung by her increasingly taut and drawn appearance, so much so that it’s overriding whatever work she puts into her character. David Wenham, as an employee of King Carter out to swindle Sarah and steal Faraway Downs for himself, gives the best performance because it never feels like the campy overacting everyone else is flirting with. And the scenery is gorgeous, lovingly photographed by a man writing a misguided love letter to his homeland.
“In the end, the only thing you own is your story. I’m just trying to live a good one,” the Drover tells Sarah not long after they meet in a moment of typically obfuscating and not-that-smart dialogue. Unfortunately, Luhrmann is trying to live too many stories. He’s made romantic melodramas before, but none that wind up feeling this fabricated and deep-down phony. By the time the bombing of Darwin rolls around — as the prologue said it would — the film takes on regrettable shades of Pearl Harbor, becoming a turgid soap stuck in the middle of an actual tragedy. (The ballad over the closing credits, sung by Elton John but with lyrics by Luhrmann, does nothing to lessen the comparison.) Which is a shame, because Luhrmann’s proven he’s more than capable of telling love stories full of humor and sadness and enjoyable characters. I just hope he hasn’t forgotten how.
Daniel Carlson is the managing editor of Pajiba and a low-level employee at a Hollywood industry magazine. You can visit his blog, Slowly Going Bald.
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Comments
Well, shit.
Posted by: Goldie at November 28, 2008 9:53 PM
So - having seen it, can you tell us if the rumors that they had to use CGI to animate Nicole Kidman's face are true? That's really the only interest I have in this film.
Posted by: Edith at November 28, 2008 9:59 PM
Nice job on the review, but it's a pity the film doesn't live up to its potential, I was genuinely hoping this would be better. Well written, too, but perhaps I'm overly appreciative given as this is the only holiday new posting - and where's EE, dammit! I need my best-of-the-crazy tryptophan to get me into the weekend!
Posted by: lordhelmet at November 28, 2008 9:59 PM
One question. Well, two. Is Nick Cave in it? And, what about Guy Pearce?
Seems to me from the trailers that Nicole Kidman's voice is dubbed. I know it's not, but it has that strange otherworldly quality, which made me nervous about the film.
Then I saw the bombing sequence and I thought wtf? It's reminds me of the weird turn that Memoirs of a Geisha took.
I really wanted to see this and enjoy it. Soft spot for Hugh Jackman aside, I'm usually a huge fan of all things Australian. Bernard Fanning, anyone? But, oh well. At least there's no singing, right? Please tell me I'm right.
Posted by: songbird at November 28, 2008 10:05 PM
Damn...that seems to be the general consensus on this movie: trying too damned hard to be Gone With the Wind, and failing miserably. Also that it feels like it's 500 hours long. Too bad. I like Luhrmann, but it looks like he believed too much in his own hype. I hate when they do that.
I crave EE. And my PajibaLove. MY LIFE FEELS SO EMPTY.
Posted by: figgy at November 28, 2008 10:32 PM
Awwww. I liked it...
Posted by: ciji at November 28, 2008 10:36 PM
I suspect part of the problem is that, unlike the Red Curtain Trilogy, Baz didn't work with his former writing partner Craig Pearce while writing Australia. Too bad, because I love me some over the top but still watchable Baz produced work.
Posted by: telesilla at November 28, 2008 10:39 PM
I found the film to be enjoyable and the runtime didn't exhaust me as much as I thought it would.
Posted by: Kevin Longrie at November 28, 2008 10:45 PM
Where's Ben Affleck When You Need Him?
Many people are discussing it at wealthy dating club (*^__^*)... W e a l t h y B e a u t y . c o m ...(*^__^*) where the successful and affluent singles and hot girls and models to hook up for Hot Love, Flirt and Sexy Dating!
Posted by: lawerence at November 28, 2008 11:06 PM
God I love coconut skrimps.
Posted by: Pookie at November 28, 2008 11:15 PM
Where's Ben Affleck When You Need Him?
Many __squid__ are discussing it at wealthy __yodeling__ club (*fuck you*)... S p a m B o t s H a v e T i n y C o c k s . c o m ...(*you're a cunt*) where the __retarded__ and affluent singles and hot __donkeys__ and __spacecheese__ to hook up for Hot Love, Flirt, and __Heavy Flatulence__!
Posted by: Snath at November 28, 2008 11:20 PM
Well shucks... I was hoping this movie would be fun or at least intriguing. But I'm sure it'd be better on the big screen as opposed to home viewing. Hmmm... I'll probably forget about it.
Also, are the spambots evolving??? Seriously. Mr. "lawerence" answered your question Dan and that's kind of creepy.
Pookie coconut shrimp is delicious. With marmalade sauce. Hell yes.
Posted by: Kayanne at November 28, 2008 11:23 PM
Pretty much what I figured it would be.
On a happy note, the Botox has finally worn off enough so that Nicole can actually smile without looking like The Joker.
Posted by: admin at November 28, 2008 11:25 PM
I will eat anything with marmalade sauce on it Kayanne.
Posted by: Pookie at November 28, 2008 11:35 PM
I'm not saying this is gay...buuuuut maybe taking it up the butt is less uuuuh, gay than this.
Posted by: BarbadoSlim at November 28, 2008 11:36 PM
Pookie, I have a proposal for you.
Posted by: admin at November 28, 2008 11:36 PM
I will eat anything with marmalade sauce on it Kayanne.
Oh reeeeeally?
Posted by: Kayanne at November 28, 2008 11:50 PM
Thanks admin, but no thanks.
Posted by: Pookie at November 28, 2008 11:50 PM
Hell Kayanne, you don't even have to put sauce on it.
Posted by: Pookie at November 28, 2008 11:54 PM
Oh, Pookie, I bet you say that to all the girls!
Posted by: Kayanne at November 28, 2008 11:56 PM
Well then....
Liar, liar pants on fire.
Posted by: admin at November 29, 2008 12:00 AM
In between the blast of pepper spray, I say that and much more.
Posted by: Pookie at November 29, 2008 12:01 AM
Don't be jealous, admin! Pookie shows his love in different ways.
Posted by: Kayanne at November 29, 2008 12:03 AM
In between the blast of pepper spray, I say that and much more.
You give up your right to remain silent? Wouldn't your lawyer advise against that for you?
Posted by: Kayanne at November 29, 2008 12:05 AM
When I first saw the trailer I thought it didn't seem to have much of a plot. Thanks for confirming. Pass
Posted by: Austin at November 29, 2008 12:06 AM
Well played, snath. Are you the last EE entry for this week or the first for next week?
Posted by: bucdaddy at November 29, 2008 12:26 AM
Well, expected as much. Baz Luhrmann kinda turned me off on interviews with his inflated self worth, though I have a fond spot for Moulin Rouge. Sometime a work come out good despite of the source, almost.
And what up with the shrimp love non-sequitur drama? Did I miss something or people have too much time? Or maybe I'm just a loveless loon out for making doubles and have no freakin' right to any of above assessments.
Just another day in my self-complete life, then.
Posted by: yocean at November 29, 2008 12:35 AM
Don't be jealous, admin! Pookie shows his love in different ways.
I know Kayanne. There's the fruit bowl, the gonzo goggles and the ever popular gonads on glass.
I knew this girl who saw it once. She's blind now and has taken a vow of celibacy.
Poor thing, she still wakes up crying.
Posted by: admin at November 29, 2008 12:46 AM
Any chance Luhrmann mixed in a little AC/DC in there to complete the Australian smorgasboard?
I get the feeling that this movie is less subtle about its intentions that Transporter 3.
Posted by: Fredo at November 29, 2008 1:06 AM
Yeah - thought as much. Here in the eponymous country you cannot turn around at the moment without seeing Hugh's or Nicole's faces looking all - gah. I don't know what. Attempt-at-iconic? Whatever.
My fellow aussies have spoken and they have said: "meh". We don't take kindly to over-hyped things being shoved down down our throats (not unless that's your thing, anyway).
Posted by: Oztraylienne at November 29, 2008 3:18 AM
I wasn't sure i wanted to see this anyway. I love Baz Lurhman. I mean i really love Baz Lurhman, he makes films like i'd like too, but this just looked to me like....remember how when Oliver Stone made Alexander? How maybe if he'd entirely left out ANY of his typical chaotic fair, the dreams and fantasies, that weird, bad cgi rainbow bird it might have been okay? Or indeed if he'd gone Oliver Stone on that shit and made it more like we're used to from the man, more like Natural Born Killers, it might just have been so mind blowingly awesome that your eyeballs fell out?
But then he made a straight film with a teaspoon full of Stone-ness and it made you go 'jigga what?!'
This looked like that to me. Like Baz Lurhman was going to make a straight film with none of his fantastically LSD like seqiences and colour and madness... not to mention Nicole Kidman is Like Angelina Jolie to me, she's IMO, nothing like as attractive as people think, she's got a..slyness to her that i dont trust and god DAMN IT, the woman cant act and never could!!
I love Moulin Rouge, but one thing that strikes me watching it, watching HER is that while Ewan made Christian his own, Lequizamo OWNED Tolouse like no one else could, etc, ANYONE could have played Satine. Nicole brought nothing special or new to the role, imo, not to mention she cant fucking SING.
I honestly think Baz keeps hiring her because she's australian and that is basically it. She's the most high profile Australian star in the states.
Plus these days i'd swear she's carved of wax
Posted by: nadine at November 29, 2008 4:36 AM
I wasn't sure i wanted to see this anyway. I love Baz Lurhman. I mean i really love Baz Lurhman, he makes films like i'd like too, but this just looked to me like....remember how when Oliver Stone made Alexander? How maybe if he'd entirely left out ANY of his typical chaotic fair, the dreams and fantasies, that weird, bad cgi rainbow bird it might have been okay? Or indeed if he'd gone Oliver Stone on that shit and made it more like we're used to from the man, more like Natural Born Killers, it might just have been so mind blowingly awesome that your eyeballs fell out?
But then he made a straight film with a teaspoon full of Stone-ness and it made you go 'jigga what?!'
This looked like that to me. Like Baz Lurhman was going to make a straight film with none of his fantastically LSD like seqiences and colour and madness... not to mention Nicole Kidman is Like Angelina Jolie to me, she's IMO, nothing like as attractive as people think, she's got a..slyness to her that i dont trust and god DAMN IT, the woman cant act and never could!!
I love Moulin Rouge, but one thing that strikes me watching it, watching HER is that while Ewan made Christian his own, Lequizamo OWNED Tolouse like no one else could, etc, ANYONE could have played Satine. Nicole brought nothing special or new to the role, imo, not to mention she cant fucking SING.
I honestly think Baz keeps hiring her because she's australian and that is basically it. She's the most high profile Australian star in the states.
Plus these days i'd swear she's carved of wax
Posted by: nadine at November 29, 2008 4:37 AM
sorryabout the double post, the internet went all funny on me
it think its the mist that surrounds my house today. It's dense and thick and making me think of the film and whether i'm gonna have to...um...spoiler, kill all the survivors including my (at this point imaginary) son to sav them from the monsters only minutes before we're rescued
Posted by: nadine at November 29, 2008 4:42 AM
They were actually the "stolen generations", not the "lost generations".
Posted by: Victoria at November 29, 2008 5:24 AM
Shame, I was looking forward to this...
Posted by: Pants at November 29, 2008 5:38 AM
