by Guest Contributor SLB, originally published at PostBougie
I could never be a real militant. Because there’s no way a real militant would’ve sat through Baz Luhrmann’s latest epic, Australia, which clocks in at a superfluous 3+ hours, and dug it as much as I did. It’s a film rife with knee-jerk infuriation potential. It’s got everything to rankle the revolutionary: racial slurs, a brother taking bullets for Hugh Jackman, an abusive white-on-black relationship, the phrase “I’m as good as Black to those people out there,” and even a little blackface for good measure. But I’ve yet to mention the race-baiting facet that receives the brightest spotlight: the magical Negro (and Half-Negro, as it were) archetype.
From the first frame, a puerile, adorably accented voice works overtime to endear you to what will inevitably be another racist tale of White colonists winning the day. But even so, the charms of that voice are hard to resist–especially when you see the chocolate-drop face it belongs to. Nullah (Brandon Walters) is a biracial pre-adolescent (maybe ten? eleven?), happily living on rundown property called Faraway Downs with his aboriginal mother, a few other servants, and a villainous White rancher named Neil Fletcher. Aboriginal mom, villainous White rancher… you probably already see where this is going.
Enter Nicole Kidman and Hugh Jackman. All you need to know about them is that, by the second hour of the film, Nullah is in their custody and by the third hour of the film they’ve lost him to the desolate Catholic mission camp where all mixed-raced Aboriginal children in a priest’s or policeman’s plain sight were herded, after being stolen from their secure, healthy Aboriginal households. Will the stubbornly feuding, but madly in love Kidman-and-Jackman reunite to reclaim their “creamy” boy, Nullah, by the film’s
This is a Baz Luhrmann flick. Come on, fam. Read the Post Ballad of the Magical Half-Negro (by Baz Luhrmann)