Set in northern Australia before World War II, an English aristocrat who inherits a sprawling ranch reluctantly pacts with a stock-man in order to protect her new property from a takeover plot. As the pair drive 2,000 head of cattle over unforgiving landscape, they experience the bombing of Darwin, Australia, by Japanese forces firsthand.
An accountant is introduced to a mysterious sex club known as The List by his lawyer friend. But in this new world, he soon becomes the prime suspect in a woman's disappearance and a multi-million dollar heist.
Kate and her actor brother live in N.Y. in the 21st Century. Her ex-boyfriend, Stuart, lives above her apartment. Stuart finds a space near the Brooklyn Bridge where there is a gap in time.... See full summary »
In northern Australia at the beginning of World War II, an English aristocrat inherits a cattle station the size of Maryland. When English cattle barons plot to take her land, she reluctantly joins forces with a rough-hewn stock-man to drive 2,000 head of cattle across hundreds of miles of the country's most unforgiving land, only to still face the bombing of Darwin, Australia, by the Japanese forces that had attacked Pearl Harbor only months earlier. Written by
Filming on the project finally began in spring 2007 and went on for nine hard months. Baz Luhrmann approached the filming with obsessive resolve. He constantly shot and re-shot scenes until he got it just the way he wanted. This obsessive attention to detail caused the project to go over budget and caused several scheduling problems. To further the production's difficulties, Australia itself was not very cooperative. On one occasion, the largest and most expensive of the sets for the film was completely flooded when huge rain showers hit a part of the country that rarely gets any rain at all. On other occasions, filming had to be delayed for days on end because of bad weather or poor lighting. Every delay was especially costly on this project, since Luhrmann employed hundreds of crew members and had a herd of fifteen hundred cattle that needed to be fed and cared for. This completely drained the budget allotted for the movie and production had to be improvised. Director was forced to go begging for more money and certain compromises had to be made. He even had to move the filming of the final scenes of the movie from Darwin, where they were supposed to take place, to Bowen because the local government provided him with 500,000 dollars to film there. See more »
When Drover shows up at the ball freshly shaved, there is no tan line from where his beard once was. Since he spends all his time out in the intense sun, the bottom half of his face would surely be paler. See more »
My grandfather, King George, he take'em me walkabout, teach me black fella way. Grandfather teach'em me most important lesson of all. Tell'em story. That day I down the billabong. King George, he teach me how to catch'em fish using magic song. See, I not black fella. I not white fella either. Them white fellas call me mixed-blood, half-caste, creamy. I belong to no one.
That day I see'em them white fellas. They were pushing them cheeky bulls across the river onto Carney land.
[...] See more »
After all of the publicity and the hype that preceded it, Baz Luhrmann's larger than life and highly entertaining epic, Australia, has finally arrived.
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.
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