Sydney Red Carpet Premiere Screening & Early Review
On Tuesday 18th of November, australiamovie.net held one of the the nation’s most sought after invitations in their hand, a ticket for two to the star studded Red Carpet Premiere of Baz Luhrmann’s latest film Australia. The Sydney skies drizzled as the stars lined the red carpet, entering the George Street cinemas for their first glimpse at the film. Even the leading actors had not been privy to the final cut and were eager to get the show on the road.
After pre-drinks we were rounded into our various cinemas and upon arrival, waiting on our seats were neatly packed Australia dinner packs with wraps, rolls, trail mix and of course the good ol Aussie lamington! As an after dinner treat, TimTam™ biscuits of course!
Our review of the amazing spectacle that was about to befall us can be read after the “more” jump in this article.
When the film let out, the attendees were in the mood for a party, and Bazmark and Fox provided a stunning one! The VIPs were rounded up in chartered buses and taken in their hordes to the swanky night location, The Ivy. With Jacob’s Creek and Coopers as partners, free flowing alcohol ensured that everyone was having a fantastic time. The entire evening was a splendid who’s, who of the Aussie A-List. Graciously making time to speak with australiamovie.net were some of the film’s greats Jack Thompson, David Wenham, Craig Pearce, stunning Catherine Martin and adorable Brandon Walters.
The entire event was a wonderful way to celebrate the culmination of many many years of hard work, it also served as an early birthday party for our website, which has just turned two years old!
- australiamovie.net
21 November 2008
Would you like to hear a story?
Baz Luhrmann and 20th Century Fox are firmly invested that your answer will be ‘yes’, and for the last three or more years Luhrmann and his team have been tirelessly working to tell, not just the nation but, the world one they won’t soon forget.
Before the film’s release there has been plenty of hype about the stunning Australian landscape, and most recently the beauty of lead actor, Hugh Jackman. While both these things are certainly present in full force, this is not a production that rests on the artifice of looks alone. A lot of talent has gone into making this movie, from direction, costume & set design, music to acting we are served up a banquet of Australia’s best, and it is a meal that not only satisfies, but has you coming back for seconds.
This is a multilayered screenplay, involving a social commentary which is still very much applicable to this day and age. Not only does the audience watch as people from two very different classes find common ground and eventually love with each other; but we’re also shown a dark chapter of Australia’s past, where racism was not only tolerated but legislatively enforced.
To those worried about getting a history lesson forced upon them, fear not, for though the events such as the bombing of Darwin, and removal of aboriginal children from their homes are documented events from the past, they are part of a bigger story that is, Australia.
By now you’ve likely read the same plot outline a million times. Stuffy British aristocrat (Kidman) goes to Australia to meet her husband on their cattle station in Australia. Surprise, a twist sees Lady Sarah teaming up with an unlikely match in Hugh Jackman’s Drover and a journey ensues whereby the pair are forced together to overcome all odds. The film is set in 1930’s/40’s outback Australia, on the cusp of World War II. We’re taken to a ‘land’ so far away that at first glance many may think they will not relate to this film at all; but that could not be further from the truth. Australia is a film with a story much bigger than time and place. The themes of family, love, loss and the struggles associated with these things are all something with which the average moviegoer can empathise.
A film of the period, The Wizard of Oz, has been used as a device to thread parts of the movie together. Through this we understand the main premise behind Australia, ‘there’s no place like home’, and to a greater extent home is not necessarily a physical place, but rather it is with whomever has your heart.
The love story between central characters is a great example of this. Kidman and Jackman make the pairing believable. There’s a chemistry between Drover and Sarah that makes the unlikely couple not only possible, but palpable. Once their worlds collide, what we really see are two lonely souls searching for someone to hold on to. Often driven apart by time, distance and opinions, any time they’re together there’s a real feeling that they’ve come home.
Part of Sarah’s common ground with the Drover is her respect for the aboriginal people as human beings with rights and feelings, just like any other. It is this compassion drawn out of Sarah that sees her take the young half cast child, Nullah, under her wing regardless of the immense social stigma attached.
Kidman and Walters’ moments on screen together are some of the film’s best; from periods of heightened comedy, which sees Lady Sarah animatedly singing Somewhere Over The Rainbow to periods of intense drama and tragedy. Their burgeoning relationship as mother and child is clearly channelled from the close relationship said to have fostered between the pair on set. Kidman’s performance with the youngster and his on screen family is some of her best recent work as the character of Sarah battles her own perceptions of the indigenous community and right vs wrong. Those who see fit to criticize Kidman’s art in this film are no doubt slaves to the confusing pop culture trend to repeatedly cut down this actor’s fine performances, thereby rendering their own opinion, or rather lack thereof, worthless.
Likewise, bright eyed and full of untapped talent, Walters delivers a character perhaps as fresh and innocent as he himself. The 12 year old provides a heart-warming performance, showing his diverse range from comedy to tragedy hitting all the right theatrical notes along the way, literally. Another thing we’ve learnt from Australia is that the boy can sing! Throughout the film the character uses traditional song to overcome obstacles, which is both beautiful and at times almost haunting. Early screenings of Australia already have the words ‘Oscar’; and ‘nomination’ being attached to Walter’s first performance, rightly so.
Jackman finds himself in a role which should certainly reposition him in the eyes of many; as a bankable love interest and a strong leading man. It’s true the film undoubtedly plays off of Jackman’s good looks, including a peepshow bathing scene that lit up internet discussion boards well before the film’s release. Luhrmann displayed a clever understanding of his audience and craft by including scenes such as this, but he certainly does not allow for the spectacle to overtake the story. If the message of the film is to live life and have your own story, well the Drover certainly does this. He’s a complex man, but not one so repulsive that you cannot warm to him. Perhaps when people hear “rough hewn drover” they expect “bastard” to be added into the equation, and unimpressed by aristocracy though he may be, unequivocal bastard he ain’t. He’s a realist and does things his own way, but underneath the character is full of heart and given that this is a love story it’s certainly not a bad thing. He stands up for what he believes is right, even if it is to his own demise, and loves those closest to him with quiet, yet fierce passion. At the end of the day he’s a character who should be ‘attractive’ to both men and women. Hugh Jackman executes the role of the Drover and his inner turmoil with award worthy precision.
Other cast warranting applaudable mentions are David Gulpillil, Jack Thompson, and most definitely the villain of the piece, David Wenham. Some other smaller supporting roles are carried out with competence, though not always at the elite level of their counterparts.
The cinematography and style of this film are things which should be no surprise to Luhrmann fans, but being that this production is his first departure from the Red Curtain Trilogy, it may well be a surprise to any new audience garnered. True this is an historical outback epic, but aided by cinematographer Mandy Walker, it still has the true fingerprints of a Luhrmann film. Australia is a throwback to the films of yesteryear and this is evident in more than just the script. ‘Heightened’ is the best way to describe the grandeur of the scenery and the characters. Though very clearly shot on location, it often feels as though you’re flipping through the pages of a beautifully illustrated storybook. Going to the cinema expecting to see an everyday war/romance film, this could be unsettling, but in true Luhrmann style by the time you reach the awe inspiring stampede action sequence most viewers should have well and truly given themself over to the storyteller.
Along with this heightened vision has come conjecture on the CGI effects employed. To this reviewer the war scenes were seamless, but early in the piece there were moments where the film did feel physically layered, adding to the pop up storybook feel. Whether this was intentional or not, it certainly is not a prominent factor that distracted from the story, instead it could be argued that it merely added to the unique style of the film. This is one small area in which there is likely to be debate between punters. For some it will work, for others looking for a naturalised canvas it will not.
The Darwin war scenes are amazing. The sheer amount of damage unleashed on the city is conveyed to the cinema with striking explosions, which not only light up the screen, but the sheer force and volume literally shake your seat in the cinema. A chilling experience. The compositions by David Hirschfelder, who first worked with Luhrmann on Strictly Ballroom, are bold and exciting when demanded and underplayed and emotive at the appropriate moments. I’m particularly looking forward to hearing the instrumental piece played during the action packed stampede sequence once the soundtrack is released. Other artists to feature on the soundtrack are The John Butler Trio and Elton John, whose song ‘The Drover’ features prominently over the end credits. Elton and Luhrmann have penned a competent song together, but the possibility for mass airplay, unlike Luhrmann’s other works, may allude this soundtrack completely. However being that this film is separated from the Red Curtain Trilogy, achieving a pop culture phenomenon soundtrack may not have been high on Luhrmann’s ‘to do’ list.
Australia is a film a bout heart and home. The expectations placed upon it to be the world’s best movie ever were near impossible weights to be carried. Without them, the cinema going world may well have been better taken by surprise. Still Australia does not sink like the Titanic, rather it carries itself gracefully as though it were a wild brumby crossed with a majestic English thoroughbred. It is an enchanting, passionate and gripping film more than worth the price of your movie ticket one that MUST be seen on the big screen.
November 21st, 2008
A busy weekend for Australia in the press with large newspaper and magazine publications featuring substantial stories on the film and those involved.
Finally, pick up the latest issue of Entertainment Weelky, for a gorgeous new shot of Drover and Sarah embracing in a November Movies preview. Baz Luhrmann reveals some more information in the last minute tweaks being made to get the film just right.
The July 2008 edition of Vogue magazine has hit American stands already and fans of Australia should be flocking to the newstands.