With her husband murdered and Carney determined to destroy her, Sarah employs the help of Drover who, no surprises, knows the Outback like the back of his hand, is as Aboriginal as a white man can be and can ride a horse, tame one, fight singlehandedly and do anything else one can ask for.

The herding of those cattle across the vast plains is an exhilarating ride, including thrills, chills, danger, edge-of-the-cliff (literally) excitement, romance and a bond that springs up between Sarah, who can’t have children, and Nullah, who has nobody. And yes, you know how that one ends.

However, Luhrmann goes on, into domesticity, World War II and briefly skips over racialism, during which everyone is almost presumed dead. Not only does this part lack the flair and naturalness of the first half, it’s forced, weak in script and dialogue and shows up all of Jackman’s weaknesses. He can be dashing, he can be funny, but he can’t be a moaning lover. Even Nullah, who is delightful as the sprightly kid who knows almost everything, but remains after all just a kid, becomes almost irritating in his earnestness.

It’s only Kidman’s star power who holds up the two parts. She went through motherhood during the filming and the conscious effort to underline her love for the child is visible. Perhaps too visible. Still if Luhrmann believes in saying it through visuals, there’s hardly a better treat for the eyes. If only the director ended with her riding triumphantly into town at the head of thousands of cattle.

... contd.