A film with high hopes and menacing momentum , once there is a "trouble" that may stray or be vague or lacking in sorting, it is easy to encounter overwhelming "verbal criticism", let alone its star effect There are not many breakthroughs in the performances of the male and female protagonists. The director’s seven-year itch seems to be "itching" and suspected of lack of skills. Therefore, it was released in North America at the end of the year and the beginning of the year, which was created by the love of Australians. "Australia" has inevitably become a "underwhelming model". Since the day it was released, criticism has continued to be heard, almost in direct proportion to previous expectations.
I wanted to skip the film, so I flicked it for a while, but maybe because I have fallen into the ranks of being scolded inadvertently recently (the little girl, how can he de), I can’t help but sympathize with this film. Director Baz Ruhrman, who has been struggling for a long time. However, sympathy is returned to sympathy, and the shortcomings cannot be ignored. Although this man has the heart to create a masterpiece for his hometown, he also reveals his ambition to cover all things in the country-history, colonization, love, Conspiracy, war, crime, race, survival, nature, wildness, civilization, and even immigration policies, etc., but too many thoughts, it is inevitable to lose sight of one another, it is easy to grab eyebrows and beards, and it is likely to cause both efforts to go in the wrong direction and not step on Point on the ending. In this way, Luhrmann, who has a good sense of stage art and aesthetic taste, seems to be more suitable for making a magnificent and dazzling song and dance film similar to the "Moulin Rouge" in 2001. Once the bow falls too much, it will be easier. Overturned, even if you set foot on the land in your hometown, you may not be satisfied.
However, if the visual effects are Ruhrmann’s strengths, then the final presentation of the film also misses this point. Although many shots in the film are rich in colors, beautiful and strong, they always give people a sense of virtuality. Some low-tech computer special effects, and some virtual scenes still vaguely show traces of post-compositing. I can't help but feel wronged for the 140 million dollars spent. The only gratifying thing is the costume styling made by Luhrman’s wife and art director Catherine Martin for the film. Among them, Nicole Kidman’s improved Chinese flag gun, red fishtail dress and headwear The shape of the white gardenia is very eye-catching. It is both exquisite and elegant, but also casual and natural. The costumes reminded the characteristics of the British noblewoman and Australian widow Sarah Nicole in that scene. The ambiguous close-fitting red also seems to imply the coming of an emotional climax.
It is really a bad idea to promote the film as the Australian version of "Gone with the Wind", because it is true that the film has the meaning of paying tribute to the old classics "Gone with the Wind" and "Out of Africa", but this improper comparison has pitted it. It seems to be lured into a trap destined to be scolded-this "gimmick" not only diverts the public's attention, but also makes the film's weaker emotional scenes be over-focused, on the contrary, it highlights its hollowness and thinness, and even makes this race. The presentation of other humanity stories in the hybrid country seems scribbled and embarrassing-there is not enough integration and combing, but there is a basket of "epic" appeals, and there is no absolute center leading, which inevitably makes the film appear chaotic and mixed.
In fairness, the love scene created by the film is not as good as the bridge of many Western romance novels. It seems that the directors are too excited to be able to concentrate on weaving a heart-stirring love story, so the plot setting presents a simple and yet The cliché side, and the characters of the hero and heroine seem to be solidified, and it seems too direct wherever the mood needs to be changed. On the whole, love seems to be an ostentatious pretense and an excuse to catch people's attention. Therefore, these two attractive adult men and women seem to be reduced to the "sparring" of the mixed-race indigenous child Nala, and the whole film is based on children. The oral narration reinforces this tendency. It stands to reason that if the love scene is not fresh enough, then it is better to let go and polish the peculiar life experience and ups and downs of the indigenous children, and to collide with another more broad feeling. However, the directors seem to have failed to complete this line, but After making a generalization, neither side was reached, so the finished product lacked a clear main line, and the combination of the double-edged sword of war aggravated this lack into chaos.
In addition, the film obviously lacks the necessary sorting and processing for such a long, protracted and lacking sentimental story. The plot conversion often appears too abrupt and rigid, and the sense of segmentation is strong. At least according to the obvious segmentation method, it can be divided into "Australia Muye" Chapter” and “War Strikes Chapter”, and the first comer and cattle-driving journey in the first part seems to be clearly clearer than the structure of the second part “War and Clutch”. Aside from the subsequent plot changes and characterization, there is a sense of disconnection and separation. Aside from the slightly funny "first come", although some of the boiling scenes of the cattle-driving journey in the film are easily reminiscent of some old films, they are at least smoothly presented, while the latter part is much more messy and loose, often incoherent and unclear. It seems that I don't know where the ink is considered safe. As a result, this hopeful, painstaking, and expensive film is getting further and further away from a classic.
This time, Nicole’s performance showed signs of excessive force. The face was so intense that it seemed to be stiff, and many of the scenes seemed to have lost the word "soul", with neither surprise nor moving. As for the third "Man", the actor of Hugh Jackman, many lovely audiences are attracted by his generous and naked sexy body, thus ignoring the simple dissociation in his performance. Although this man is beautiful, he is beautiful, but It also seems to have lost the "soul" outside of the role, and as the plot develops, it becomes more and more serious. If it is only set as a sun bathing male + Makino cowboy, then it is really difficult to evoke a hundred revolutions. Thousands of loves.
The title of the film is "Australia", and it seems to be trying to interpret the ups and downs of a country's destiny from a shocking angle, but judging from the film's fineness and popularity, it is obviously not enough, and not too focused. And the indigenous culture expressed in it has a hint of mystery. Among them, the indigenous grandfather of the cute mixed-race child always haunts like a ghost, and often predicts singing, which is a bit different from this seemingly realistic theme. In fact, it reflects Australia. The unique indigenous culture does not necessarily have to use this trick. Of course, the discordance of the film is more than this, not to mention this is still one of the minor discordances.
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