Baz Luhrmann, during the pandemic, revisited his 2008 sprawling drama "Australia," a film already lengthy at 165 minutes. Unfulfilled with the original, Luhrmann has now transformed it into “Faraway Downs,” a six-part miniseries. This new venture extends the story, reinstates its original ending, and enriches its depiction of Indigenous Australians. With added scenes, fresh music, and seamless episode transitions, "Faraway Downs" reshapes "Australia," addressing its previous shortcomings while highlighting the rarity of cinematic grandeur in today’s streaming content.
The series opens with a prologue, setting the historical context of Indigenous children's treatment in Australia and the looming Japanese threat post-Pearl Harbor. It’s a conscious nod to the foundational tragedies of the land where the story unfolds. This framing aligns with Luhrmann’s signature blend of romance and impending doom.
Set in September 1939, “Faraway Downs” starts with Lady Sarah Ashley (Nicole Kidman), who travels to her husband’s vast cattle ranch in Australia, aiming for a divorce. Upon arrival, she finds her husband dead, leaving her in charge. Despite being an outsider, she gradually connects with the land and its people, especially the endearing Nullah (Brandon Walters) and the rugged Drover (Hugh Jackman). Kidman and Jackman’s chemistry is reminiscent of classic film romances, echoing "Gone with the Wind" and "The African Queen."
However, the series inherits some dated storytelling traits from its cinematic predecessors. Luhrmann's portrayal of Indigenous characters, especially Nullah, often veers towards the mystical. The updated version attempts to rectify this, featuring opening credits by Indigenous artists, new music contributions from Budjerah and Anpuru, and collaborations with young Indigenous musical and graphic artists. These additions show Luhrmann’s effort to engage more authentically with Indigenous perspectives, even if the portrayal still falls short of fully realizing Nullah as a complex character.
The restructuring into a series format is intriguing. Hulu’s flexible episode lengths allow Luhrmann to naturally segment the story, with episodes varying from under 30 minutes to nearly an hour. The total runtime extends to about 205 minutes, excluding episode credits, which is notably longer than the original film. Remarkably, this expansion doesn’t feel forced or unnatural, avoiding the common pitfalls of awkwardly inserted deleted scenes.
Visually, “Faraway Downs” is a feast. In an era where television often succumbs to dim, algorithm-driven aesthetics, this series stands out. Cinematographer Mandy Walker, recently Oscar-nominated for “Elvis,” captures the sweeping romantic landscapes essential for this epic narrative. The series not only brings a forgotten film back into the spotlight but also serves as a stark reminder of the visual mediocrity prevalent in much of today’s TV content.
In essence, “Faraway Downs” doesn’t fully redeem "Australia" from historical obscurity but instead offers a fresh lens on how television can and should look. While it makes strides in its portrayal of Indigenous characters and narrative depth, it also serves as a testament to the enduring appeal of cinematic beauty in an age dominated by streaming services.
