form y separately published work icon Johnny Deadfella single work   film/TV   crime  
Issue Details: First known date: 1969... 1969 Johnny Deadfella
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AbstractHistoryArchive Description

This episode involves the severe beating of an Indigenous Australian man because of the attentions he has been paying to a white Australian girl.

The character notes (reproduced below) focus heavily on the racism of small towns, which carries over into the dialogue: for example, when the victim tells his brother 'Go down to the butcher's and get some meat for Mum. A roast of beef and a couple of chickens. She's sick of mutton. And make sure he serves you in turn' (page 3) or when the storekeeper says to the victim, 'What'll it be - two pints of flour and a stick of baccy? (LAUGHS)' (page 4).

Ultimately, the script reveals that the beating the victim sustains is not the direct cause of his death: he is accidentally drowned by his uncle.


The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'JOHNNY KAMADJI. Victim. Successful Aboriginal shearing contractor. Tall, good-looking, assured, Johnny has succeeded because he is better at his job than the white man. He refuses to accept the imposed limitations of his colour, but is in turn intolerant of those among his own people who have not succeeded under the white man's terms. Must be a driver. Aged about 25.

'SAM NUGGET. Johnny's uncle. A detribalised, alcoholic derelict. A fringe-dweller, but still with a shred of pride clinging to his racked frame. Possesses a sly sense of humour and an unexpected knowledge of people and the world. Aged 50-65.

'RICKY KAMADJI. Johnny's young brother. Educated, self-confident. Ricky hero-worshipped Johnny and is the only Aboriginal prepared to assist the police. Aged 15.

'BEN FOSTER. Storekeeper. Typical of the racists to be found in any Australian country town. Bland, smug, self-satisfied. His narrow-minded bigotry is hidden beneath a bluff, unsophisticated sense of humour. Aged about 45.

'SALLY FOSTER Ben's daughter. Works in her father's store. Pretty, flirtatious, unsophisticated. Not over-endowed with intelligence, but not a fool. Accepts people for what they are. Demonstrates courage and a sense of humanity when the time comes. Aged about 18.

'BRUCE FOSTER. Ben's son. Mechanic in local garage. Blessed with his father's prejudices, though rather more open about them. A small town upbringing has equipped him with the usual loyalties and limitations. Aged about 20.

'NEIL THOMAS. Sally's boyfriend. Bruce's best mate. Neil works as an assistant in Ben's store. Something of a small-time rural tearaway, without Bruce's courage or determination. Bruce leads Neil in most things. Neil and Sally's relationship is one of habitual affection. Must be a driver. Aged about 20.

'SENIOR CONSTABLE BOB FINLAY. Competent district policeman. Genuinely tries to do his best within the confines of a difficult local situation. Must be a driver. Aged about 40.

'MRS KAMADJI. Johnny's mother. An Aborginial woman, with a deep sense of pride and humility. Instinctively suspicious and afraid of policemen. Aged about 45.

'MOLLY. Local character. An old hard-bitten hard-doer. Aged 60 plus.

'ABORIGINAL CHILDREN. (EXTRAS) Johnny's brothers and sisters.

'MILKMAN (ACTUALITY).'

Notes

  • This entry has been compiled from archival research in the Crawford Collection (AFI Research Collection), undertaken by Dr Catriona Mills under the auspices of the 2012 AFI Research Collection (AFIRC) Research Fellowship.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Note: According to Storey, Emanuel was credited as director and Swanson as a film director.
      1969 .
      person or book cover
      Script cover page (from the Crawford Collection at the AFI Research Collection)
      Extent: 67p.
      (Manuscript) assertion
      Note/s:
      • The script is labelled 'Episode HN'. 'Episode 232' written on the cover page in red felt pen.
      • This copy of the script is designated for the director. No specific director is named, but 'Director' is typed in top right-hand corner of the cover page.
      • The script is annotated throughout in blue ink, largely setting out the shots for specific scenes and (on the blank pages of the script) blocking in specific scenes. There are additional annotations in red felt pen, black felt pen, black ink, and pencil, but these are minimal compared to the blue ink annotations.
      • The final page of the script includes a list of crew credits:
        Written by Cliff Green.
        Edited by Sonia Borg.
        Typed by Shirley Ballard, Hilary Burgess, Christine Rook, Margaret Younger.
        Checked by Shirley Ballard, Hilary Burgess, Christine Rook, Margaret Younger.
        Duplicated by Jeanette Tilley.

      Holdings

      Held at: AFI Research Collection
      Local Id: SC HOM : 232
Last amended 29 May 2013 13:36:18
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