Arthur Everard spent almost two decades making films for the National Film Unit, including directing award-winning rugby short Score and joining the team behind Commonwealth Games doco Games ’74. In 1984, Everard became New Zealand’s Chief Film Censor, a position he held for six years.
A large section of society has become far more open in the way it discusses things - not just sex and violence, but lots of things. Therefore as society changes, their attitudes to what is allowable in movies changes. Arthur Everard on censorship, 1987
Sam Neill weaves portions of autobiography into an idiosyncratic, acclaimed yet controversial analysis of Kiwi cinema — from its crude beginnings, to the dark flowering of achievement seen in the breakthrough films of Peter Jackson, Lee Tamahori, and Jane Campion. Directed by Neill and Judy Rymer, as one of 18 films commissioned for the British Film Institute's Century of Cinema series, the award-winning documentary debuted at the 1995 Cannes Film Festival. The New York Times' Janet Maslin rated it a series highlight. The opening sequence looks at the role of the road in Kiwi film.
Something of an antipodean Seven Up! (a series of life-chronicling British documentaries) this documentary picks up on the stories of four young Māori — now middle-aged — 24 years after they moved to the Wellington as part of a Māori Affairs Department redeployment program. It makes liberal use of the original film to contrast the cowshed to cubicle journeys; and revisits Ripeka (now in Hamilton), Moana (Guam via Japan), Grace (Wellington), and Phillip (Brisbane), who reflect on the paths their lives have followed, and on their Māori culture and where 'home' is.
In the early 80s the New Zealand ski industry was burgeoning. This 1983 National Film Unit production promotes the Southern Alps as a ski tourism destination — “the most exciting alpine area south of the equator”. The promo accentuates southern difference (“no trees to get in your way”), as the film tours from Ben Ohau and Tasman Glacier descents, to offseason international downhill racers at Mt Hutt, and après ski attractions. The skiing is paired with orchestral music, a classical-sport combo that director Arthur Everard also memorably used in rugby film Score.
This 1981 NFU film is a tour of the contemporary world of Aotearoa’s tangata whenua. It won headlines over claims that its portrayal of Māori had been sanitised for overseas viewers. Debate and a recut ensued. Writer Witi Ihimaera felt that mentions of contentious issues (Bastion Point, the land march) in his original script were ignored or elided in the final film, and withdrew from the project. He later told journalists that the controversy showed that educated members of minority groups were no longer prepared to let the majority interpret the minority view.
The theatre of sport is given full-blown operatic treatment in this National Film Unit classic. Footage from the French 1979 rugby tour of New Zealand is rendered in slow-motion and cut to a Tchaikovsky score. The result is an often glorious, sometimes tongue-in-cheek, paean to rugby. Balletic lineouts, driving tackles, and the dark mysteries of the ruck, make for a ballsy Swan Lake in the mud. It includes the Bastille Day French victory over the All Blacks. Directed by NFU stalwart Arthur Everard, it won a jury prize at the Montreal World Film Festival.
This NFU portrait of 19th Century artist Gottfried Lindauer traces his wide-ranging life, from his Bohemian origins and arrival in New Zealand in 1873, aged 35, to his death in Woodville in 1926. Lindauer’s portraits, especially of Māori in formal dress, became an iconic record of colonial era New Zealand people. A market developed for Lindauer’s work, established by his patron Henry Partridge. Lindauer’s commissions (held at Auckland Art Gallery) are respectfully filmed here; and his process is detailed, including his most famous image, Ana Rupene and Child.
This is an NFU account of a 1970 mission to find, net, and train a Bottlenose dolphin for Marineland in Napier. Informative narration scores the hunt as veteran whaler Joe Perano helps two staff search the Marlborough Sounds. Soon, a pod of "submarine surfers" ride the ship's bow, and a young female is dramatically netted (to her mother's distress). A truck ride and flight later she is swimming in her new marine park home. A year on 'Pelorus Jill' makes her public debut, performing spectacular 12 foot leaps and beaching for a tummy scratch from her trainer.
This chronicle of the Christchurch Commonwealth Games marked one of the National Film Unit's most ambitious productions. Though a range of events (including famous runs by John Walker and Dick Tayler), are covered, the film often bypasses the pomp and glory approach; daring to talk to the injured and mentioning that most competitors lose. The closing ceremonies of the "friendly games" feature the athletes gathering to — as the official song's chorus put it — "join together". The directing team included Paul Maunder, Sam Pillsbury, and Arthur Everard.
This NFU production covers the Shah of Iran’s first tour downunder, and uses the occasion to showcase New Zealand to international viewers: from scenery to topdressing, dental clinics and Wellington Girls’ College. The four day visit could be seen as a symbol of globalisation: NZ had been cut adrift by Britain and was looking for markets for its lamb, cheese and wool, and to secure oil supplies. The Shah needed food for his modernising petroleum exporting country. (The booming trade was to be curtailed by the 1979 Iranian Revolution, when the Shah was exiled.)
This National Film Unit production records the making of four large-scale sculptures for a 1971 international symposium to commemorate Auckland City’s centennial. Helen Escobedo (Mexico) nodded to the skyline’s masts and cranes with Signals in Parnell Rose Garden; Opened Stone by Hiroaki Ueda (Japan) was balanced near Auckland Art Gallery for 35 years; and American Fred Loopstra's Homage to Will still ploughs Victoria Park. A central city scrap metal work by Canadian Tom Burrows was removed in 1977, perhaps achieving his stated aim: to “disturb” its viewers!
In November 1971 more than 70,000 visitors converged on Hamilton over six days for the first ever World Rose Convention. What's in a name? Well it can help you locate favourite flowers in the vast exhibition, but "form, substance and freshness" rule as this NFU short film shows the meticulous preparation, judging and reactions. Side-trips for international visitors to Paradise Valley and Rotorua's thermal areas add a travelogue element. But from the opening time-lapse shot of a blooming rose it's clear what these 'rosarians' are there for.
In this 1971 film pianist Barry Margan ‘humps’ his grand piano around NZ, on a mission to bring classical piano to places where it might not typically be heard. Aiming to break down barriers to enjoying live chamber music, Margan plays his pop-up piano (including Douglas Lilburn’s ‘Sonatina’) at coffee bars, libraries and art galleries. The trailer-borne grand is not easy to set up, but the audiences (from soldiers to children) are willing. Narrated by Margan, this was the last film in the National Film Unit's three decade-spanning Pictorial Parade magazine series.
Like the digital ‘mash-up’ concept to come, this 1970 film uses content from more than one source to create something new. In this film collage, relics of visual and material culture from New Zealand museums are combined to evoke life in earlier eras. These objects — from moa skeletons, to scrimshaw, to a stereoscope, and surveys of Māori culture and sex appeal (!) — are mixed with historical footage (including turn of the century Queen Street) and a classical score. Another Time was directed by Arthur Everard for the National Film Unit.
Shot for an Australian Travel Agents Seminar, this short film seeks to portray 1969 New Zealand as a hip and happening place. The tourism clichés of a scenic wonderland remain, but the film attempts to present a more sophisticated NZ to entice jet-set Aussies east. After all, we "got rid of six o'clock closing ages ago." To complement the Anzac staples of sport, beer and gambling there are mountains and Māori. Nightclubs offer show bands and strippers for "relaxation" after strenuous days of sightseeing. C’mon is a fascinating snapshot of a nation in transition.
Made for television in the late 60s, this documentary pursues four young Māori — Ripeka, Moana, Grace and Phillip — as they transition from school, whānau and rural life to live in the city. The film follows them as they arrive in Wellington and attend a pre-employment course run by The Department of Māori Affairs, which offers accommodation and advice on employment options. Director Arthur Everard later became NZ's Chief Film Censor. A 1991 sequel To Live in the City 24 Years On, travelled across three countries to pick up on the lives of the four, now middle aged.
The Central Otago gold mining town of Cromwell celebrates its centenary in this 1960s National Film Unit documentary. For a fortnight the townsfolk go about their ordinary business, but in colonial-era costume. They also reenact the frontier-style life of gold rush New Zealand. Just 20 years before the film was shot, Cromwell banks were still receiving deposits of gold dust from customers. The Cromwell put on film in 1966 is also now just a memory. While the old main street still exists, much of the town was flooded with the completion of the Clyde dam in 1993.
President Lyndon B Johnson's whirlwind visit to New Zealand on 19 October 1966 is chronicled in this National Film Unit documentary. The visit came as controversy grew over Kiwi involvement in the Vietnam War. But aside from a few protestors, the first visit to NZ by a serving US President and his wife was greeted with enthusiasm by about 200,000 Wellingtonians. State and civic receptions were followed by the obligatory farm visit to watch a shearing gang, before the President flew out at the end of 'New Zealand’s day with LBJ'.