On its release, Jedda was a ground-breaking film: not only was it he first Australian film shot in colour, but it was also the first film to feature aboriginal actors in the lead roles. Additionally, it was the first Australian movie to be presented at the Cannes Film Festival. Cunningham on Chauvel gives an interesting account of the Chavel's work and the means that Jedda was finnanced. ( Continuum: The Australian Journal of Media & Culture vol. 1 no 1 (1987) http://wwwmcc.murdoch.edu.au/ReadingRoom/1.1/Cunningham.html)

True Colours (www.theage.com.au) describes the special refrigerated treatment that the film stock needed in order to portray the ochres and splendour of the Australian landscape. (http://www.theage.com.au/news/General/True-colours/2005/01/05/1104832174383.html?from=moreStories)

On viewing some trailers for Jedda I was struck by two things. The homestead looked wrong; it did not fit with the bush setting, it looked, faked, more at home in a Hollywood-style movie than one about the an Australian station. Secondly, although set in the Northern Terrritory, I was struck by the absence of flies - there weren't any.

As the movie commenced I was also struck by the English accent of Joe, the half-caste narrator, which I thought was very out of place. This too was evident in the voice of Jedda. Doug, the station owner, and his wife, Sarah had more 'Australian' accents.

On losing her own child, Sarah raises Jedda as her protege. Sara can be seen as a reformist who sees it as her duty to save Jedda from becoming a 'naked monkey'. There is a constant conflict between black and white as Jedda becomes more and more removed from the traditions and culture of her people. Sarah shows a lack of understanding of aborinality - Doug has a more realistic perspective. However, Doug is not in agreeance with his wifes attempt to tame Jedda and remove her from her culture.

The scene is set for Joe to marry off Jedda, until Marbuk is introduced as a potential rival. Portrayed at first, as a handsome tribal nomad - he develops into a villain, a wanted fugitive with a posse on his trail. Jedda, lured by the 'singing' of Marbuk is captivated; emotionally and physically. Marbuk carries her off, followed by Joe, as well as the troopers. Joe is beaten by Markbuk and Jedda must follow him. He is rebuked by his tribe and sees the death of Jedda as a solution - Joe is too late to save her as she is dragged over the cliff by Marbuk.

The picture that Jedda presents does not correspond with reality. It presents a sanitised colonial point of view. Althusser calls it a distorted version of real relations . . .

Chauvel uses the landscape as a silent, ever-present character in the narrative.

Chauvel uses the landscape to help narrate his story. Both white and black societies claim ownership of the land, and in their own ways the land is utilised and loved by both races. The harshness of the landscape lends itself to the day-to-day struggle for survival and at the same time becomes a 'garden of eden' for the 'sinful' savages. In this context the refusal of Jedda to eat the snake that Marbuk gives her takes on a biblical connotation. Sexually threatening - powerful - tribal

Ngarla Kunoth (Rosie Kunoth) (Jedda) relates in later years how she was terrified and scared during the making of the film. She had no idea what a movie was or how they were made or what she was supposed to be doing. She did what she was told because she was frightened of not seeing her family or people again.

Marbuk is a central character - exotic, erotic, he challenges white authority, he is a threat to aboriginal traditions.

Binary opposition - mainly concerning assimilation / Black and White / Good and Evil / Male and Female / Native and Australian, European / Master and Servant / tribal and colonial lives / Doug and Sarah / Laissez-faire and Darwinism / adventure and ideology

Film can be divided into two 'acts' but a lot of what can be interpreted into Jedda are the things that it 'doesn't say' -

According to Creed, Jedda portrays a mythic and dreamlike quality.

The story concerns the abduction of Jedda by Sarah, (also by Joe) and then by Markbuk. In many ways these characters are all heroes. Jedda is the main protagonist, although extremely passive throughout the film; Sarah has the strong dominating character, and her story of lonely, survival in the outback is barely told; Joe is the hero - he goes after his 'girl' and tracks down Marbuk. Marbuk, too, is a hero. We are not aware of Markbuk's true story, of how he became a fugitive. We are not told of the injustices that Marbuk would have suffered. He is a silent hero, the anti-hero.

Even though the Chavels undertook extensive research for the film, Jedda presents a sanitised realism - based on three 'real' stories - the death of a white woman's baby and the pedal radio / the assimilation of a white mother indigenous child / and the story of Marbuk the fugitive.

Sarah dominates - not, just Jedda, but the whole station - then Marbuk dominates until his 'final fall' - which symbolises both a physical and moral fall.

Aboriginal reading - Jedda and Marbuk both broke the laws and deserved to die. Issues of infant mortality not raised, stolen generations - this film marks a time when empathy to indigenous Australians slowly began to gain some traction in Australian society.

Jedda can be considered a classic Australian film because:

Jedda was produced and marketed to be a classic. Made during a time of relative prosperity, after the turmoil of World War II, it was the first of its type in Australia and followed in the tradition of the Hollywood blockbusters. It was filmed for an international audience using techniques that were new to Australian film-making and introduced new levels of quality and professionalism. The movie was produced to influence its audience and represents a break with past traditions, both in its subject matter, its production and its casting. Susane Carlsson (Chauvell) states that "the film reflected the views of many white Territorians at the time - not necessarily her fathers's own views." (Australian Screen) (http://australianscreen.com.au/titles/jedda/)

The message of Jedda has changed over time - we are no longer constrained by colonial imperialism. Social attitudes towards aboriginality are more empathetic; the serious conflicts between black and white have been replaced by different conflicts, the underlying tensions still exist. Jedda can be reinterpreted in today's contemporary setting or re-examined from its original perspective.

Enduring, controversial, thought provoking. Sequel - translated into many different languages

Made by Chauvel at the end of his career, this is one of his most significant works.