Variously praised as a major step forward in indigenous cinema, attacked for overambition, and little screened, Te Rua marked Barry Barclay’s impassioned follow-up to Ngati. This story of stolen Māori carvings in a Berlin museum sees Barclay plunging into issues of control of indigenous culture he would return to in book Mana Tuturu. Feisty activist (Peter Kaa) and elder lawyer (screen taonga Wi Kuki Kaa) favour different approaches to getting the carvings back home. Barclay and his longtime producer John O’Shea had their own differences over Te Rua’s final cut.
In this 1972 documentary writer James McNeish visits Opononi to examine the life and controversial death of Opo the dolphin. Working from a McNeish idea, director Barry Barclay uses Opo’s mid 50s visit to the Hokianga as the basis for a probing film essay on people, and other animals. Witnesses recall Opo “oomping away”; they include local Piwai Toi, filmmakers Rudall and Ramai Hayward, and author Maurice Shadbolt. Opo is provokingly not shown on screen. Michael King praised Miracle as “without a doubt the most interesting and evocative” slot in the Survey series to date.
Directed by Tony Williams, this documentary is a strong example of how to make engaging television out of a brief that might easily have been overly earnest. Nominally “a history of service clubs in New Zealand”, the footloose film explores a rich variety of organisations created to bring people together: from accordion players and air hostesses to flying saucer believers and Rotarians. The film celebrates a fundamental human need to ‘get together’. Poet Denis Glover provides sardonic commentary. It won the best programme of year Feltex Award.
This film comprehensively surveys Kiwi Olympic success to 1968. Footage includes triumphs from running men Lovelock, Halberg and Snell (trying a celebratory haka), and long jumper Yvette Williams; and podium efforts from Marise Chamberlain, Barry Magee and John Holland. The John O'Shea-made doco then meets athletes training for the upcoming Mexico Olympics. Reigning Boston Marathon winner Dave McKenzie runs on quiet West Coast roads and Warren Cole rows on Lake Rotoiti under snow-capped peaks. Cole would go on to win gold in the Men's Coxed Four.
Before turning to directing, Barry Barclay did more than five years training to become a priest. That experience surely percolates through his film Ashes, with its reflections on identity, spirituality and living (or feeling) apart from others. The film centres on the thoughts of four people: an artist, a woman struggling with her identity as a high achiever, an actor, and a priest. Are all of them acting, or only Sam Neill? The film features readings from Ash Wednesday, the poem written by TS Eliot after converting to anglicanism. Ashes screened on NZ television on 17 March 1975.
Set in and around the fictional town of Kapua in 1948, Ngāti is the story of a Māori community. The film comprises three narrative threads: a boy, Ropata, is dying of leukaemia; the return of a young Australian doctor, Greg, and his discovery that he has Māori heritage; and the fight to keep the local freezing works open. Unique in tone and quietly powerful in its storytelling, Ngāti was Barry Barclay's first dramatic feature, and the first feature to be written and directed by Māori. Ngati screened in Critics' Week at the Cannes Film Festival
This short film is a re-enactment of events leading to Ngāti Toa leader Te Rauparaha’s ‘Ka Mate’ haka; he composed the chant after evading enemy capture by hiding in a kumara pit. (The haka would become famous after the All Blacks adopted it as a pre-game challenge.) Directed by pioneering filmmaker Barry Barclay in te reo, produced by John O’Shea and written by Tama Poata, the short was made in the lead-up to landmark Māori feature Ngati. Many of the crew were enlisted via a work scheme, aimed at redressing the lack of young Māori working in the screen industry.
“A film developed from the imagination of New Zealand children” is how director Tony Williams describes this remarkable, sprawling mix of drama and documentary. It features a fictitious teacher (writer Michael Heath) working with a class of 11-year-olds from Petone to explore what freedom means to them. At times their notions might seem naive but the film remains firmly non-judgmental. The free-wheeling approach, most memorable in the Paekakariki beach fantasy scenes, makes for a “wonderfully idiosyncratic” (film historian Roger Horrocks) hymn to juvenile freedom.
This documentary follows the 1973 Heatway Rally, a mud and oil-splattered event in which 120 drivers covered 3600 miles over eight days. Directed by future advertising legend Tony Williams, it was a major logistical exercise, with five camera units, shot by a who’s who of the 70s New Zealand film industry. In addition to high speed on-and-off road action, it includes an explanation of what co-drivers actually do, a chance for a driver’s wife to ride in a rally car, and driving and cornering montages set to orchestral accompaniment. It won the 1974 Feltex Award for Best Documentary.
Made on a wind-up Bolex camera, The Sound of Seeing announced the arrival of 21-year-old filmmaker Tony Williams. Based around a painter and a composer wandering the city (and beyond), the film meshes music and imagery to show the duo taking inspiration from their surroundings. The Sound of Seeing served early notice on Williams' editing talents, his love of music, and his dislike of narration. It was also one of the first independently-made titles screened on Kiwi television. Composer/author Robin Maconie later wrote pioneering electronic music.