Jedda

The Plot Jedda is an Aboriginal girl born on a cattle station in the Northern Territory of Australia.

After her mother dies giving birth to her, the child is brought to Sarah McMann, the wife of the station boss.

Sarah has recently lost her own newborn to illness.

She at first intends to give the baby to one of the Aboriginal women who work on the station, but then raises Jedda as her own, teaching her European ways and separating her from other Aborigines.

Jedda wants to learn about her own culture, but is forbidden by Sarah. When Jedda grows into a young woman, she becomes curious about an Aboriginal man from the bush named Marbuck. And it goes on from there.

It's a dated movie and maybe if you are Australian you'd love it. For the rest of us it's a bit of a bore. But the color sure is sweet.

Another reviewer said the negative made it to England but most of the film was destroyed in developing in England. This is untrue.

The last roll of negative was destroyed in a plane crash on its way for developing in England. Chauvel re-shot these lost scenes at Kanangra Walls in the Blue Mountains and Jenolan Caves west of Sydney Cave Scenes were Filmed in the River Cave, Diamond Cave, Imperial Cave, and Mud Tunnels at Jenolan. Editing and sound recorded were completed in London.

Pretty boring story and plot. Nothing complicated and fancy, pretty flat plot.

Cinematography is ok, but acting is quite bad. I dislike classical training acting, but this is mediocre even for their standards.

I expected something much better than. I found it in comments about tribal movies ( after seeing "Tabu: A story of the south seas (1931)" and "White shadows in the South Seas (1928) which i liked" .

Idk, this movie didn't age well, but the story is pretty annoying at times, esp the beginning.

Of course, the white, Christian people are the right, all-knowing people who try to force their beliefs on anyone else of the infidels. You see how that white missionary woman is forcing the little girl to get the western, white beliefs because the little native girl MUST wear clothes and shoes, MUST play the piano, speak English and have a western thinking and not be like the rest of the kids in the area. I know, that was the thinking back than, and it was "normal" for the time period, but it still annoying to watch.

Then you have a love story, or love triangle if you like, but that that story is flatter than your grandma's love books lol. The overall drama in the movie is very non-dramatic and boring.

Overall, nothing interesting and worth watching. One of many movies that didn't age well at all. But i have a feeling that it was not great even when it came out. The 30s movies i watched and liked are also not-great as acting, nor do they have very complex plot and story , but they are miles ahead of this movie. Much better cinematography as well.

JEDDA was a major cinema release in 1956 in Australia and has long been regarded as a cinema classic in this country. For international audiences now that RABBIT PROOF FENCE has found success in most countries, it is well worth seeing JEDDA as a 1956 counterpart. Filmed in Gevacolour (not Technicolor) it was the first film made in any color here. Heralded at the time for its daring depiction of the real and confronting tribal practices of ancient aboriginal Australia JEDDA still is able today to enthrall a (slightly forgiving) audience and still make you appalled at the very racist White Australia policy in force from the Government of the day. Sadly some of the acting is dated, especially in the beginning, but once Jedda is a woman and the tribal lure starts, it really becomes fascinating. The use of color in the outback expanses and the extraordinary presence of the two genuine black Aboriginal main actors allows JEDDA to become a major statement about the well-meant but misguided practices of Government policies and how they are (still) totally unsuited to such a spiritual people. The sequence where Marbuck 'sings' to Jedda, seducing her in a hypnotic sexual trap is quite startling and un nerving. The climax of the film rivals NORTH BY NORTHWEST for spectacular mountaintop drama. JEDDA would be available from SCREENSOUND Australia the Canberra Archive and interested persons could buy it on-line. It is exceptionally interesting. A near counterpart from the USA is the 1947 Indian/Chinese drama BLACK GOLD, made by Allied Artists and Directed by noir expert Phil Karlson.

There are things in this old movie to give one pause, especially Aussies.

On one hand we have a historically significant film that despite flaws is compelling enough in its own way, while on the other the situation that has bedevilled relations between indigenous and white Australians for the last 230 years is displayed without a hint of embarrassment.

Filmmakers Charles and Elsa Chauvel put forward two opposing points of view in "Jedda": one suggesting that indigenous Australians should be assimilated into the wider white society and the other claiming instincts instilled in a people during 50,000 years of isolation could not be suppressed in a few generations. However what really hits you in "Jedda" is the patronising and condescending way the whites treat the blacks - forget about equal pay and land rights.

When an Aboriginal mother dies, her baby is taken in by Sarah McCann, the white wife of a cattle station owner. She had just lost her own baby, and although it's not a classic example of 'The Stolen Generation', it's not far off. She calls the little girl "Jedda" and raises her as her own.

But as "Jedda" grows she is drawn spiritually to her own people despite a relationship with Joe, a half Aboriginal, half Afghan stockman. Casting Joe as a white man or half white may not have travelled well back in '55; apartheid didn't officially exist in Australia, but boundaries were easy to find. Paul Reynall, a white actor in blackface, played Joe.

A renegade Aboriginal, Marbuck (Robert Tudawali), enters the scene and sensing Jedda's conflict, takes her forcibly on a journey through dangerous country. He is pursued by Joe, but when he is rejected by his own tribe, tragedy ensues.

The film seems rough around the edges compared with films from Hollywood and Britain at the time. The most fascinating aspect is the two unknown Aboriginal actors from remote areas who were virtually thrust in front of the camera - Rosalie Kunoth Monks as Jedda and Robert Tudawali as Marbuck. Rosalie Kunoth Monks who was aged about 15 didn't really know what was happening. Although the Chauvels were decent people who treated her well, years later when asked if she was tempted to go on with an acting career, she replied, "No siree!" She became a nun and then a high-profile spokesperson for her people.

Tudawali on the other hand caught the acting bug, but his life ran off the rails. In 1988, his story was depicted in an uncompromising film, "Tudawali" starring Ernie Dingo. It highlighted problems the Chauvels didn't.

Black and white relations in Oz have had a considerable airing in films since "Jedda", including films made by indigenous Australians, but the whole thing is definitely still a work in progress.

When some of the people here who have reviewed this film say the bad and wrong things about it they obviously have a rather misunderstanding of film making. This film, made in 1955 should not be compared to films off today. Yes, they killed animals in it but that was the way of life in the outback then, the film shows realism. Yes it was shot on location in the Northern Territory, however from what I have researched the last reel was lost and had to be reshot. Because of the expense of going back to the NT it was shot in the Blue Mountains. So be it many films are reshot in different places.

Enjoy JEDDA for what it is, an outstanding film of its day and far, far better than many films made now in 2019.