This collection shows the screen icons from the decade of Springboks, sax and the sharemarket crash. The world champ All Blacks' jersey was loose, socks were red and shoulders were padded. On screens big and small Kiwis were reflected ... mullets n'all: from Bruno and the yellow mini, to Billy T's yellow towel, Karyn Hay's vowels, Poi-E, Gloss, Dog and more dogs showing off.
Yuppies, shoulder-pads, sports cars and méthode champenoise abound in this cult 'glamour soap'. Gloss was NZ's answer to US soap Dynasty, with the Carrington oil scions replaced by the wealthy Redferns and their Auckland magazine empire. The series epitomised 80s excess, and became something of a guilty viewing pleasure. In this Rosemary McLeod-penned pilot, a 'Remuera Revisited' plot unfolds as Brad Redfern's plans to have a quiet wedding get waylaid by ex-wife Maxine. Schoolgirl Chelsea wags, listens to her Sony Walkman and gets an unorthodox haircut.
Billy T’s unique brand of humour is captured here at its affable, non-PC best in this compilation of skits from his popular 80s TV shows. There’s Te News (“... somebody pinched all the toilet seats out of the Kaikohe Police Station ... now the cops got nothing to go on!”) with Billy in iconic black singlet and yellow towel; a bro’s guide to home improvement; the first contact skits, and Turangi Vice. No target is sacred (God, The IRA, the talking Japanese sketch) and there are classic advertising spoofs for Pixie Caramel’s “last requests” and Lands For Bags’ “where’d you get your bag”.
Goodbye Pork Pie was a low-budget sensation, definitively proving Kiwis could make blockbusters too. Young Gerry (Kelly Johnson) steals a yellow Mini from a Kaitaia rental company. Heading south, he meets John (Tony Barry), who wants his wife back, and hitchhiker Shirl (Claire Oberman). Soon they're heading to Invercargill, with the police in pursuit. High on hair-raising driving and a childlike sense of joy, the Blondini gang are soon hailed as folk heroes, on screen and off. Remake Pork Pie (2017) was directed by Matt Murphy — son of Geoff, who drove the original film.
Roughly four years after debuting on A Haunting We Will Go, Count Homogenized made a memorable re-entrance in his own series. This fifth episode has the simplicity of a good cartoon: disguised as a movable charity bin, the vampire endeavours to trick or talk his way past the local dairy owners, on his endless mission to make it to the milk supplies. Aside from Russell Smith in full comic flight as the Count, Lynda Milligan takes the New Zild accent in dramatic new directions as no-nonsense shopkeeper Rhonda Dearsley.
The 1980s was the decade the music video boom began. Kiwi music was well represented when it came to number one singles, as you can see below. In February 1980 Jon Stephens became (and remains) the only Kiwi to knock themselves off the top of the charts, when ‘Montego Bay’ replaced ‘Jezebel’ at number one. In 1981 The Screaming Meemees’ ‘See Me Go‘ was the first local single to enter the charts at number one, and in 1984 ‘Poi E’ reached the top spot with little airplay. In 1986 ‘Sailing Away’ set records for the most consecutive weeks at number one (nine) by a Kiwi artist.
Mortimer’s Patch was a popular drama series following Detective Sergeant Doug Mortimer (Terence Cooper) at work in the town of Cobham. Mortimer plays a city cop returning to his rural roots; Don Selwyn is Sergeant Bob Storey. The series was NZ’s first police drama, and a rare local drama to top ratings. Mortimer's Patch was made when the archetype of the ‘community cop’ everyone knew was still a powerful one, and it was a counterweight to the faceless riot policing of the Springbok Tour. Three series were made.
Smash Palace is a Kiwi cinema classic and launched Roger Donaldson's American career. Al Shaw (a brilliant, brooding Bruno Lawrence) is a racing car driver who now runs a wrecker's yard in the shadow of Mount Ruapehu. His French wife Jacqui is unhappy there and leaves him, taking up with Al's best mate. When she restricts Al's access to his young daughter, his frustration explodes and he goes bush with the girl, desperate not to lose her too. "There's no road back" runs the tagline. New Yorker critic Pauline Kael called the film "amazingly accomplished".
After School was a hosted links format that screened on weekday afternoons. Its initial host was Olly Ohlson, who was the first Māori presenter to anchor his own children's show. After School also broke ground in its use of te reo Māori on screen, as well as sign language. The show and Ohlson are remembered by a generation of New Zealanders for the catchphrase (with accompanying sign language) "Keep cool till after school". After School was later hosted by Jason Gunn and Annie Roache, and was where puppet Thingee achieved small screen fame.
RWP presenters past (Barry Jenkin aka Dr Rock) and present (Karyn Hay) discuss clips selected by Jenkin whose choices very much reflect his musical epiphany at the hands of punk in the late 70s. This segment features three local acts and provides the opportunity to see a somewhat distant Johnny Volume (guitar in the Scavengers on their classic 'Mysterex') and to observe Chris Knox's considerable musical and visual progression from the punk of the Enemy to the altogether more experimental Tall Dwarfs (with one of Knox's classic animated clips).
They came, they battered, they bickered. Peter Hudson and David Halls were as famous for their on-screen spats as they were for their recipes. The couple ("are we gay - well we're certainly merry") turned cooking into comedy. Their self-titled show ran for a decade on New Zealand TV and it attracted a cult following when they moved the show to the UK. The duo won Entertainer of the Year at the 1981 Feltex Awards. Microwaves, little roasted nuts and great dollops of innuendo: the sometimes fusty genre of TV culinary demonstration would never be the same.
Classic sci-fi TV series Under the Mountain follows the adventures of redheaded twins with psychic powers — Rachel and Theo — as they battle the alien Wilberforces. This fourth episode sees the twins venture into the aliens' submarine lair for the first time. The lair's uterine production design, the NZSO score, and still-creepy transmogrifying SFX contributed to the slimy imprint the series left on a generation of NZ kids, haunted by the giant slugs slithering underneath Auckland's volcanoes. The award-winning series was adapted from the Maurice Gee novel.
In an age before Rogernomics, and well before The Office, there was the afternoon tea fund, Golden Kiwi, and four o'clock closing: welcome to the early 80s world of the New Zealand Public Service. Gliding On (1981 - 1985) was the first locally made sitcom to become a bona-fide classic. The series was inspired by Roger Hall's hit play Glide Time and satirised a paper-pushing working life then-familiar to many Kiwis. Gliding On won several Feltex Awards including best male and female actors and best entertainment.
Man. Dog. Sheep. This was an unlikely formula for Kiwi TV gold. A Dog's Show was familiar as a homespun in its long-running Sunday slot. The show featured sheepdog trials from around the country, with commentary provided by the wise, bearded John Gordon. In the final from a 1981 series, four farmers wield sticks and whistles, and put their dogs through their paces to wrangle the "sticky sheep". It's 1981, but the only riots here are ovine. Trivia: the opening tune is a version of the song 'Flowers on the Wall', also used in the film Pulp Fiction.
In 1986 Footrot Flats: The Dog's (Tail) Tale and its theme song ‘Slice of Heaven’ were huge hits in New Zealand and Australia. The adaptation of Murray Ball's beloved Footrot Flats comic strip marked Aotearoa's first animated feature. There were a lot of big questions to answer: Will Wal become an All Black? Will Cooch recover his stolen stag? Will the Dog win your hearts and funny bones? Punters answered at the box office. This John Toon-shot trailer doubled as a promo for the Dave Dobbyn-Herbs song, and smartly leveraged both. Tony Hiles writes about the film's making here.
Punk rock was breaking and musical styles changing, but in New Zealand country music was appointment viewing at 7pm on Saturday. That's Country ran from 1980 to 1984. Hosted by one-time pop singer Ray Columbus, the show featured both local and international talent including Suzanne Prentice, Patsy Riggir, Emmylou Harris and George Hamilton IV. An American offer to buy the show and install a US presenter were resisted. Instead the show was sold to a Nashville cable TV network, in a New Zealand first; That's Country soon had an audience of 30 million in the States.