Trail-blazing Kiwi composer Douglas Lilburn wrote music for four National Film Unit shorts in the late 1940s, including the experimental Rhythm and Movement. Encouraged to apply for a music job at the Government filmmaking body, Lilburn instead taught composition at Victoria University. He would also found a pioneering electronic music studio, and was instrumental in establishing publishers and archives for NZ music. Lilburn died in June 2001.
... the bare facts of his career give little hint of the impact this unassuming man had on New Zealand’s cultural life. He taught or influenced several generations of composers and laboured tirelessly behind the scenes to stimulate awareness of New Zealand music. London's Gramophone magazine, in their September 2001 Lilburn obituary
This documentary revisits six eventful weeks in 1949. Led by cameraman Brian Brake, an all-star art team — James K Baxter as scriptwriter, composer Douglas Lilburn and painter John Drawbridge (all under 30; Drawbridge was 19) — attempt to make a 'cinematic poem' about an ascent of Mt Aspiring. Baxter's notes on the trip evolved into his poem In the Matukituki Valley. Aspiring features a lost script, Drawbridge's memories (he recalls storyboards for a snow cave light show here) and a surprise ending. View footage of the never-completed film after the excerpt.
With five series and close to 100 episodes, Frontseat, produced by The Gibson Group, was the longest-running arts programme of its time. Billed by TVNZ publicity as a "topical and provocative weekly arts series investigating the issues facing local arts and culture", and hosted by actor Oliver Driver, it (sometimes controversially) took a broad current affairs approach to the arts of the day, covering "all the big events, reporting the stories, and interviewing the personalities."
Early Days Yet, directed by Shirley Horrocks, is a full-length documentary about New Zealand poet Allen Curnow, made in the last months of his life. The poet talks about his life and work, and visits the places of some of his most important poems. It includes interviews with other New Zealand poets about Curnow's significance as an advocate for New Zealand poetry. As Curnow famously mused in front of a moa skeleton displayed in Canterbury Museum: "Not I, some child, born in a marvellous year / Will learn the trick of standing upright here."
The Edge was an early edition in a series of magazine style arts shows made by the Gibson Group. Later shows included Sunday, Bookenz, Bill Ralston-hosted Backch@t, and Frontseat. Diverging from then-standard Kaleidoscope model (sometimes lengthy documentaries, often on single subjects) The Edge took a faster-paced approach, with multiple pieces in a half hour show. Subjects ranged from the birth of special effects company Weta to early landscape painter Alfred Sharpe. Fronted by writer Mary McCallum, two series and over 60 episodes of the show were produced.
This 1950 documentary about early primary school education was made by pioneering female director Margaret Thomson, who rated it her favourite NZ work. The survey of contemporary educational theory examines the new order in 'infant schooling' (though some things never change, like tadpoles and tidy up time). It is broken into sections: ‘Play in the Infant School’, ‘Doing and Learning’, ‘Learning to Read’, ‘Number Work’ and ‘Living and Learning’. The National Film Unit doco was made for the Department of Education. Douglas Lilburn composed the score.
This National Film Unit dramatised doco was boosterism for postwar immigration to New Zealand. Three Brits (Margaret, Cassie, Harry) travel and settle down under and the film records their hopes, jobs (nurse, factory worker, engineer), challenges (accents, 'casual' work ethic, locals wary of the ‘Poms’) and adventures in the new country (tramping, skiing, milk bars, the races, romance). Partaking in a glacier rescue raises Harry's spirits and assimilates him with the blokes. The film was released theatrically in the UK, and was scored by Douglas Lilburn.
This NFU film looks at the challenges of delivering health services to the large, sparsely populated Hokianga district after World War II. The Weekly Review doesn’t flinch from facing the poverty and poor housing of the mostly Māori population. District nurses carry much of the burden, and doctors and nurses from Rawene Hospital travel by car, foot, boat and horseback to attend clinics and emergencies; including the legendary Dr George McCall Smith — responsible for setting up the Hokianga Special Medical Area. The film’s score was composed by Douglas Lilburn.
This short profiles the work of Gisa Taglicht. A pioneer of women's rhythmical gymnastics, Taglicht advocated the benefits of physical exercise for women. Risqué at the time for the women’s skimpy outfits, the Wellington-set film sees women escaping machine and washing line oppression via a YWCA hilltop session: limbs reaching and stretching towards a stark sky. The National Film Unit's post-war Weekly Reviews became less overtly patriotic, and some, like this Michael Forlong-directed one, were unabashedly experimental. The score was composed by Douglas Lilburn.