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We of the Never Never (1982)
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Overview
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Director:
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Release Date:
4 November 1982 (Australia)
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Tagline:
Love for her husband took her across a continent to a place no civilized woman had gone before. Her heart and courage make this one of the most unforgettable stories ever told. [USA theatrical] more
Awards:
1 win
&
5 nominations
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User Comments:
"Once it gets its hooks in you, you'll Never Never want to leave."
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Cast
(Cast overview, first billed only) | Angela Punch McGregor | ... | Jeannie Gunn |
| Arthur Dignam | ... | Aeneas Gunn |
| Martin Vaughan | ... | Dan |
| Lewis Fitz-Gerald | ... | Jack |
| John Jarratt | ... | Dandy |
 | Tony Barry | ... | Mac |
| Tommy Lewis | ... | Jackaroo |
| Donald Blitner | ... | Goggle Eye |
| Mawuyul Yanthalawuy | ... | Rosie |
| Cecil Parkee | ... | Cheon |
| Sibina Willy | ... | Bett Bett |
| Tex Morton | ... | Landlord |
| Kim Chiu Kok | ... | Sam Lee |
| Brian Granrott | ... | Neaves |
| Danny Adcock | ... | Brown |
Additional Details
Parents Guide:
Runtime:
134 min
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Aspect Ratio:
2.35 : 1 more
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Fun Stuff
Trivia:
The remains of Aeneas Gunn, and several other characters featured in the book and movie, are buried in the Elsey Cemetery. Jeannie Gunn is buried in Melbourne, but there is a memorial next to her husband's grave, which reads IN loving memory of the "Little Missus" JEANNIE GUNN Born. June 5th 1870. Died. June 9th 1961
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We of the Never Never was a real surprise: sounding like one of a thousand other woman-making-her-way-on-the-frontier movies, albeit set in the Australian outback, it actually turns out to be a terrific piece of old-style epic film-making on a grand scale. The unexpected casting pays dividends: Angela Punch McGregor conveys just the right strength of character for someone simultaneously trying to fit in where she's not wanted and who is still open to what those around her have to offer, white or Aborigine, while Arthur Dignam's very unlikeliness as a cattle station manager works in his favour.
Gary Hansen's scope photography is truly breathtaking, and director Igor Auzin's mastery of the frame without losing sight of his characters is so impressive that you wonder why he only made one more feature. The 2.35:1 ratio is not just window dressing either: not only does it stress both the vastness and hard beauty of the place, but it also serves to highlight the marginalisation of the various characters by class, gender or race. Pretty terrific.