The Drover and Sarah eventually admit their attraction to one another, and Sarah’s maternal instincts draw her to Nullah. She expresses an interest in adopting the boy, but the two are separated and Nullah is confined to an island with other mixed-race children. The island then becomes a target for an attack by Japanese fighter pilots.
Historical sweep aside, the film’s view of spirituality is troubling. Nullah has power over animals and nature, and his grandfather (David Gulpilil)—described by one character as a “witch doctor”—is the sort of “holy man” we’ve seen countless times before: a dark-skinned native with access to unseen forces and powers, and someone we are supposed to admire and never question. The Christians are the ones behind the campaign to re-educate Nullah and the other children they round up—a shameful legacy that has no positive corollary in the film.
Jackman is decent in his role as the Drover, although the actor, recently named “Sexiest Man Alive” by People magazine, is more likely to be remembered for his physique (he appears shirtless in the film) than for his performance. Nicole Kidman, who recently earned the distinction as the most overpaid celebrity in Hollywood by Forbes based on the paltry box-office performance of her films, likely will see her star fall further once audiences realize how bloated and insignificant Australia is.
On the plus side, the film looks spectacular during certain sequences, such as when Nullah rides a horse through a lagoon, and the Japanese attack on Darwin is gripping. The rest of Australia is a bit of a mess—and even worse, a bore. Director Luhrmann never weaves a tale that makes us care about this episode of his home country’s history, nor many of the characters who populate this story. Those who made this soggy epic should take heart that it will soon be forgotten.
Questions? Concerns? Contact the writer at crosswalkchristian@earthlink.net.
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