Ambientata nell'Australia settentrionale prima della seconda guerra mondiale, un'aristocratica inglese che eredita un ranch fa con riluttanza un patto con un agente di magazzino per protegge... Leggi tuttoAmbientata nell'Australia settentrionale prima della seconda guerra mondiale, un'aristocratica inglese che eredita un ranch fa con riluttanza un patto con un agente di magazzino per proteggere la sua proprietà da un piano di acquisizione.Ambientata nell'Australia settentrionale prima della seconda guerra mondiale, un'aristocratica inglese che eredita un ranch fa con riluttanza un patto con un agente di magazzino per proteggere la sua proprietà da un piano di acquisizione.
- Candidato a 1 Oscar
- 12 vittorie e 37 candidature totali
Jamal Sydney Bednarz
- Mission Boy
- (as Jamal Bednarz-Metallah)
Nathin Art Butler
- Carney Boy #1
- (as Nathin Butler)
Trama
Lo sapevi?
- QuizIn an interview that aired October 16, 2008, Hugh Jackman told 60 Minutes (1979) that Nicole Kidman agreed to star in the film without reading the script. According to Jackman, she told him at a Super Bowl party that she had to be in the movie. When Jackman told her he didn't even have a script, Kidman told him to forget the script, because Baz Luhrmann was directing.
- BlooperWhen discussing Nullah's future, Sarah mentions "a wonderful School of the Air." School of the Air is a correspondence course that uses shortwave radio (and, now, the internet) to teach children in the Outback. The Alice Springs School of the Air covers over a million square kilometers. School of the Air started in 1951.
- Curiosità sui creditiThere is a statement at the beginning of the film: "Aboriginal and Torres Strait Islander viewers should exercise caution when watching this film as it may contain images and voices of deceased persons."
- Versioni alternativeBaz Luhrman shot so much "extra" footage that he turned all of it into the miniseries "Faraway Downs" (2023).
- ConnessioniEdited from Tora! Tora! Tora! (1970)
- Colonne sonoreBy the Boab Tree
Music by Felix Meagher, Baz Luhrmann and Angela Little
Lyrics by Baz Luhrmann, Felix Meagher, Anton Monsted, Angela Little and Schuyler Weiss
Performed by Angela Little
Produced by BLAM (Baz Luhrmann & Anton Monsted), Felix Meagher and Angela Little
Mixed by Eden Martin
Recensione in evidenza
Australia came out between Christmas and New Year in the UK and this was quite befitting it as this is the time when the television usually has those fluffy but expensive specials and epic productions clogging it up, all with the excuse of being perfect "doze in front of the telly" stuff for the wake of eating too much. I say this fits Australia because in truth much of Baz Luhrmann's film could be accused of being just that bloated, silly, sweeping, moving, engaging but ultimately quite light in the substance department. Our story is an traditional "epic" romance in the mould of many old films where the rough hero and the cut-glass woman fall for one another against a backdrop of cattle drives and war. If alarm bells are ringing for you then they were for me as well, since this concept reminded me a bit of Pearl Harbour that terribly wooden affair that dragged on far too long to be able to cover the problems with big explosions.
The good news is that Australia is better than Pearl Harbour. The bad news is that it still isn't a fantastic film so much as it is the type of film that one likes despite it all, not because of it. The film wears its epic feel like a big coat and it covers it completely to the point that there is no denying the ambition of Luhrmann. We get massive spectacle, sweeping emotion, ethnic mysticism and constant unreal cinematography that makes the whole thing look gorgeous to the point of being unreal. In this regard the film works because there is a lot going on and, despite one's reservations, it feels like we are watching this epic film that is important and emotional and creative. The truth is perhaps a little less impressive because the mix of the epic and the fanciful doesn't come off for Luhrmann as well as it has in other films. Here one rather affects the other and the "big real story" sits uncomfortably with "unlikely sweeping narrative gestures" and "mystical power of the Aborigine". To some this will be just part of the magic of the film but for me it got a bit tiresome and felt like too much had been thrown into the pot.
That said, it somehow does work and generally I got caught up in the sweep and majesty of the whole thing caring about the characters, touched by the slight magic in the story and the delivery. Although they don't mix that well, the camp style is woven into some aspects to prevent it becoming dry, unlikely and wooden in the way that it did in Pearl Harbour. The direction and cinematography drive this but the cast help. Jackman is not "great" in traditional terms but his beefy, chiselled frame plays well to the broad matinée idol type that he must deliver as. By contrast Kidman doesn't quite pull it off. Sure she is convincingly dry and uptight at the start but she doesn't loosen in a way that works that well. Walters is a bit too sickly cute for my liking but within the context of Luhrmann's world, he just about works even if he was a bit too front and centre within the film. Brown is a nice find in support and generally everyone is OK for what is required.
It is too long and it does have far too much in there for its own good but it just about works. I can understand why some hate it and some love it because it is that type of film but, for all its flaws (and it does have them), the big colourful, emotional sweep of it all is hard to resist. I'll admit that I would be unlikely to watch it again until it comes to TV for free in about 5 years but it has its charm and although it is not perfect I did think it was quite a good film and one that is typically Luhrmann in creation.
The good news is that Australia is better than Pearl Harbour. The bad news is that it still isn't a fantastic film so much as it is the type of film that one likes despite it all, not because of it. The film wears its epic feel like a big coat and it covers it completely to the point that there is no denying the ambition of Luhrmann. We get massive spectacle, sweeping emotion, ethnic mysticism and constant unreal cinematography that makes the whole thing look gorgeous to the point of being unreal. In this regard the film works because there is a lot going on and, despite one's reservations, it feels like we are watching this epic film that is important and emotional and creative. The truth is perhaps a little less impressive because the mix of the epic and the fanciful doesn't come off for Luhrmann as well as it has in other films. Here one rather affects the other and the "big real story" sits uncomfortably with "unlikely sweeping narrative gestures" and "mystical power of the Aborigine". To some this will be just part of the magic of the film but for me it got a bit tiresome and felt like too much had been thrown into the pot.
That said, it somehow does work and generally I got caught up in the sweep and majesty of the whole thing caring about the characters, touched by the slight magic in the story and the delivery. Although they don't mix that well, the camp style is woven into some aspects to prevent it becoming dry, unlikely and wooden in the way that it did in Pearl Harbour. The direction and cinematography drive this but the cast help. Jackman is not "great" in traditional terms but his beefy, chiselled frame plays well to the broad matinée idol type that he must deliver as. By contrast Kidman doesn't quite pull it off. Sure she is convincingly dry and uptight at the start but she doesn't loosen in a way that works that well. Walters is a bit too sickly cute for my liking but within the context of Luhrmann's world, he just about works even if he was a bit too front and centre within the film. Brown is a nice find in support and generally everyone is OK for what is required.
It is too long and it does have far too much in there for its own good but it just about works. I can understand why some hate it and some love it because it is that type of film but, for all its flaws (and it does have them), the big colourful, emotional sweep of it all is hard to resist. I'll admit that I would be unlikely to watch it again until it comes to TV for free in about 5 years but it has its charm and although it is not perfect I did think it was quite a good film and one that is typically Luhrmann in creation.
- bob the moo
- 30 gen 2009
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Lingue
- Celebre anche come
- Chuyện Tình Nước Úc
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 130.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 49.554.002 USD
- Fine settimana di apertura Stati Uniti e Canada
- 14.800.723 USD
- 30 nov 2008
- Lordo in tutto il mondo
- 211.788.761 USD
- Tempo di esecuzione2 ore 45 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.39 : 1
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