This Top 10 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 is 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.
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".
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).
This uplifting promotional clip is as famous as the chartbusting song. Accompanied by Jo, the breakdancing guide, for a tour of Patea and surrounds, the Patea Māori Club are captured "bopping and twirling like piwakawaka": at the local marae, in Wellington's Manners Mall, and on Patea’s main street, where milk tankers and sheep trucks pass by the Aotea canoe remembrance arch. So does the impresario himself: Dalvanius does a pūkana out a car window. In 2010 'Poi E' re-entered the charts thanks to Taika Waititi hit Boy. A documentary on the song was released in 2016.
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 a 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.
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 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.