In the midst of the pandemic, Baz Luhrmann embarked on a revisitation of his 2008 epic, “Australia,” a film notorious for its lengthy runtime of 165 minutes. Seeking to resurrect the original, darker ending that was axed due to unfavorable test screenings, Luhrmann also aimed to delve deeper into the portrayal of Indigenous peoples within the narrative. The result? “Faraway Downs,” a six-part limited series that breathes new life into “Australia” by reintroducing deleted scenes, incorporating fresh musical compositions, and skillfully integrating episode breaks that seamlessly fit the storytelling.
“Faraway Downs” grapples with many of the same challenges as its cinematic predecessor, yet its reimagined structure manages to mitigate some of these issues while serving as a stark reminder of the current landscape of television. In an era dominated by visually uninspired digital productions, “Faraway Downs” stands out as a series that exudes the grandeur and aesthetic finesse of a feature film. Luhrmann’s decision to open the series with a poignant prologue highlighting the historical atrocities faced by Indigenous children in Australia sets a somber tone, serving as both a reflection on the land’s tragic past and a forewarning of the turmoil to come.
Set against the backdrop of September 1939, “Faraway Downs” follows the journey of Lady Sarah Ashley (Nicole Kidman), who ventures to her vast cattle ranch in Australia seeking a divorce from her absentee husband, only to discover his untimely demise. Kidman’s chemistry with Hugh Jackman’s rugged Drover character harkens back to classic cinematic romances, albeit with some outdated storytelling elements, particularly in Luhrmann’s portrayal of Indigenous characters. While efforts to rectify this are evident through collaborations with Indigenous artists and musicians, there remains a lingering imbalance in the narrative focus.
Luhrmann’s vision for “Faraway Downs” as a series rather than a standalone film proves to be a stroke of genius, allowing for a more fluid storytelling experience. With episode lengths varying widely, the series clocks in at around 205 minutes, significantly longer than its cinematic counterpart, yet the pacing remains seamless, avoiding the jarring insertion of deleted scenes common in other projects. Visually captivating landscapes captured by Mandy Walker further elevate the series, serving as a stark contrast to the visual monotony prevalent in contemporary television.
While “Faraway Downs” may not completely redeem “Australia” from obscurity, it serves as a poignant reminder of the untapped potential of television as a medium for cinematic storytelling. In a landscape cluttered with mediocrity, Luhrmann’s series shines as a beacon of visual splendor and narrative ambition, challenging the conventions of modern television while paying homage to the grandeur of classic filmmaking.