#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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 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 by the Japanese forces that had attacked Pearl Harbor only months earlier.
Plot: 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 by Japanese forces firsthand.
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|6.6/10 Votes: 121,995|
|6.6 Votes: 1832 Popularity: 17.667|
Wonderful Movie – remember to check your disbelief at the door.
Having resisted the urge to see Australia for many months, I finally hired the Blu Ray version because my mother in law was staying over for the night. I thought I’d get something suitable for an octogenarian lady who likes “nice” films with pretty people in them.
Well, it turned out she’d seen it, and anyway she and my wife were off to a show at 8pm, so I’d have to watch it all by myself (a one night rental, you see).
We have a home theater set up with high quality HD projection and a large 12 foot screen… perfect for expansive Blu Ray vistas. I thought I’d get at least some Academy Award nominated eye candy out of Australia, if nothing else. Not being a big Kidman or Jackman fan, I was hoping some of the supporting roles would hold my attention.
I was glad I could watch Australia alone, as it made my laughing out loud and the tears rolling down my face (sometimes simultaneously) less embarrassing.
This is a wonderful, sprawling, completely overdone, yet breathtakingly entertaining movie. I’m not interested in where it fits into the Baz Lurhmann body of work. I watched Australia for itself, as a one off experience… and the film delivers a cornucopia of cinema treats.
Be warned: to enjoy Australia you have to suspend disbelief. That is a given. Don’t look for a sensitive, subtle, academic treatment of the plight of the Aboriginal Stolen Generations, redolent with citations, statistics and sober commentary. This film presents the situation crystallized around the story of one little boy, as a representative of the thousands who were removed from their mothers and fathers, destined for lives as domestic servants in white homes or as cheap workers on white cattle stations in the Northern Territory.
Likewise, the depiction of the mystical Aboriginal holy man is not meant to be taken literally. To my mind, the director’s intent was to bypass stuffy academia and get to the soul of the Aboriginal person’s ties to the land, which after all go back tens of thousands of years. There is no more magic in this movie than in any of the Indiana Jones movies, or Star Wars films, where the ability to rip out a beating human heart, magic stones that ensure prosperity, the Arc Of The Covenant as a force that can destroy armies, a mystical chalice which will impart immortality to those who drink from it, or The Force which enables levitation of large spacecraft and the manipulation of minds… all these are accepted by most filmgoers without demur. The same could be said of any of a thousand successful movies: the Lord Of The Rings Trilogy, even Ghostbusters. They assume from the start that their viewers will willing to suspend disbelief. This film requires that too.
Once your disbelief is checked at the door, you can sit back and indulge yourself in Australia. It is a film about emotion, not a documentary. It’s whether the emotional truth of the film, often melodramatically worn on the director’s sleeve, can grab your own heart and allow you to wallow in it unashamadely.
Other reviewers have said here that they were able to watch the whole film with rapt attention from beginning to end. I join those ranks, and proudly. There is hardly a moment when the action – emotional or actual – is not hitting you right between the eyes, be it the stunning vistas or the awful badness of the baddies, the tender first kiss between the Drover and Lady Sarah, or the razor’s edge existence of the young “creamie” boy, Nullah, always on the run from the well-meaning but misguided authorities who would “breed the Aboriginal out of him”.
Sure, there are some CGI sections that at first seem way over the top, even comic book-like in their execution. But I’m not sure these weren’t intentional. I wonder whether they were deliberately done they way they were to reinforce the magical and mystical thrust of the story? Yes, in Australia there are elements and style quotations from scores of previous movies. It pays homage to Indiana Jones (all four of them), Out Of Africa, Star Wars, any of the great westerns, The African Queen, Pearl Harbour (yes, Darwin really was bombed by the Japanese just after Pearl Harbour, with great loss of life), even The Wizard Of Oz. The latter was used as a metaphor for the boy’s journey from grim reality to a mystical land full of evil characters, good fairies and magic animals. When he finally gets to see the movie itself, I’ll guarantee even the most hardened eye in the audience will be struggling to hold back a tear.
The music was an eclectic collage of emotional cues, from the original score, thru the Hollywood musical and on to Elgar’s Variations, with jazz, swing and bobbysoxer dance themes in between. Why not? The visuals and the sound reinforced each other, reaching not for footnotable, citable truth but for emotional truth (which is what all good films have ever done).
This was a great film, completely contrary to my preconceived notions of what it would be like to watch. It receives from me just about the greatest accolade I can offer any move: it’s one I know I will watch over and over again, and get more out of with every viewing.
Sprawling epic needed a tighter focus but still has some great moments…
Baz Luhrmann has done with Australia what David O. Selznick managed to do with DUEL IN THE SUN–he’s created a sprawling epic of a canvas for a narrow storyline about a woman who needs a man to keep the villains from double-crossing her in a land deal. It’s the kind of story every B-western had in the old days, usually with someone like Roy Rogers or Gene Autry playing the cowboy who helps a girl keep her ranch from the outlaws who want it. Here the tale has been expanded to include racial overtones (which DUEL also had) and some good cattle drive scenes that teeter into cliff hanging territory.
Of course, he’s added bits of Australian history to the background of the story–such as the treatment of Aborigines whom the villain of the piece calls “creamies” and a World War II sequence of Japanese bombing an island off Australia and heading for Darwin. No expense has been spared to make these scenes look very realistic. For production values alone, it deserves a 7.
A sensitive looking boy named BRANDON WALTERS is effective as the boy Nullah whom Kidman comes to love as her own son. Unfortunately, the scenes between Kidman and Walters are clumsily handled by the actress who seems to be forcing herself on the characterization of a woman uncertain of herself when relating to children. Her “Over the Rainbow” moment seems unauthentic.
HUGH JACKMAN is great as the cowboy called Drover who is assigned to escort the British born Lady Ashley (NICOLE KIDMAN) on a cattle drive where she intends to get a handsome sum for her cattle. David WENHAM makes an excellent villain as the man who opposes Kidman and Jackman all through the story, getting his comeuppance as all good villains eventually do.
The sheer predictability of the tale is what hurts it most. We all know that Jackman and Kidman will be locking lips long before the fadeout and that Wenham will make a nasty exit. What we can’t foresee is that the story will drift in all sorts of directions about racial inequalities and weird rituals with a bit of World War II bombings thrown in.
The casting of the leads hurts the story. Jackman is fine and has obviously buffed up for the role but Kidman is the wrong actress for the part, unable to summon the sort of temperamental display that someone like Kate Winslet was able to do with the role of Rose in TITANIC. A stronger actress would have been a better choice.
However, having said all this, there are plenty of gripping moments in Australia that make you wonder why the film isn’t doing as well as it should at the box-office. For all of its faults, it’s still more engrossing than many films that bring in larger crowds.
Original Language en
Runtime 2 hr 45 min (165 min)
Genre Adventure, Comedy, Drama
Director Baz Luhrmann
Writer Stuart Beattie, Baz Luhrmann, Ronald Harwood
Actors Nicole Kidman, Hugh Jackman, Shea Adams
Country United Kingdom, Australia, United States
Awards Nominated for 1 Oscar. 12 wins & 37 nominations total
Production Company N/A
Sound Mix DTS, Dolby Digital
Aspect Ratio 2.39 : 1
Camera PanArri 435, Panavision Primo Lenses, Panavision Panaflex Millennium XL, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses, Panavision Panaflex Millennium, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses
Laboratory Atlab Film Laboratory Service, Sydney, Australia
Film Length 4,445 m (Portugal, 35 mm), 4,518 m (Sweden)
Negative Format 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema