An impressionistic portrait of 'Australia'
Cinematic flapper
Anna Nguyen
Issue date: 12/1/08 Section: Lifestyles
Ever since the year 2008 commenced, I've experienced some rather dreary trips to the cinema. The films that do lure me to the theater are entertaining - for my preferences, anyway - but I've not felt that sense of a dazzling moment that's left me breathless once the ending credits signify the finale and the lights begin to flicker slowly. Such cases of romanticizing moments do occur at home after a nocturnal viewing of a Wong Kar-wai or a Jean-Luc Godard film.
"Moulin Rouge" should have been a film reserved for a day to the cinema. It's an epic of wicked fun and has a lovely palette of mad, dashing colors. Regrettably, this type of exhilaration was not formed inside a theater, as I used to not care for films during my youth.
Much to my delight, Baz Luhrmann's recent film was released on the eve of the holiday break. Last Wednesday night, I went to see "Australia" with remote feelings. Previews of the film suggested a grand love story set during war times. I really cannot be bothered with any more of these sickening stories, but the lure of Luhrmann's films is the aesthetics and I do enjoy a pretty film. So "Australia" it was, the night's selection to cure a recurring case of boredom.
At a running time of more than two and half hours long, I was not at all bored and was surprisingly intrigued throughout. Not only was the film visually satisfying, but Luhrmann's tale of Australia itself was fascinating. In fact, I was oblivious to the history of Australia, her role during the chaotic turmoil of World War II and the oppression of the Aboriginal population. Despite the adult, dark subject matters Luhrmann presents, the story is told through the eyes of a young Aboriginal boy named Nullah, which provides an endearing, innocent voice to the film. The little boy has great companionship with the film's leading couple, Nicole Kidman and Hugh Jackman.
I must say, I thought Kidman was brilliant as the doomed Satine in "Moulin Rouge" and enjoyed "Fur: An Imaginary Portrait of Diane Arbus" and "Margot at the Wedding," but I was a bit tired of seeing her photos in upcoming projects. Kidman is a fine thespian, but her magic begins to wane when she is in multiple films and one has to decide what film to watch because the theater is playing several of her works. Her role as Lady Ashley in "Australia," however, is a terrific and formidable performance and is a lovely complement to Jackman's gallant role as an unnamed drover. Their love story is a bit too sentimental at times, but I found myself tolerating it, much to my surprise.
"Moulin Rouge" should have been a film reserved for a day to the cinema. It's an epic of wicked fun and has a lovely palette of mad, dashing colors. Regrettably, this type of exhilaration was not formed inside a theater, as I used to not care for films during my youth.
Much to my delight, Baz Luhrmann's recent film was released on the eve of the holiday break. Last Wednesday night, I went to see "Australia" with remote feelings. Previews of the film suggested a grand love story set during war times. I really cannot be bothered with any more of these sickening stories, but the lure of Luhrmann's films is the aesthetics and I do enjoy a pretty film. So "Australia" it was, the night's selection to cure a recurring case of boredom.
At a running time of more than two and half hours long, I was not at all bored and was surprisingly intrigued throughout. Not only was the film visually satisfying, but Luhrmann's tale of Australia itself was fascinating. In fact, I was oblivious to the history of Australia, her role during the chaotic turmoil of World War II and the oppression of the Aboriginal population. Despite the adult, dark subject matters Luhrmann presents, the story is told through the eyes of a young Aboriginal boy named Nullah, which provides an endearing, innocent voice to the film. The little boy has great companionship with the film's leading couple, Nicole Kidman and Hugh Jackman.
I must say, I thought Kidman was brilliant as the doomed Satine in "Moulin Rouge" and enjoyed "Fur: An Imaginary Portrait of Diane Arbus" and "Margot at the Wedding," but I was a bit tired of seeing her photos in upcoming projects. Kidman is a fine thespian, but her magic begins to wane when she is in multiple films and one has to decide what film to watch because the theater is playing several of her works. Her role as Lady Ashley in "Australia," however, is a terrific and formidable performance and is a lovely complement to Jackman's gallant role as an unnamed drover. Their love story is a bit too sentimental at times, but I found myself tolerating it, much to my surprise.
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