This documentary charts the voyage from New Zealand to Tahiti of a replica of the HMS Bounty, destined to be the star of Kiwi director Roger Donaldson’s film of the famous mutiny. The boat was built in Whangerei from The Bounty’s original Admiralty plans, commissioned for an unmade David Lean film of the story. It's not all plain sailing as engines fail, the power supply falters and winds drop, but she arrives in Tahiti in time for the first scenes of the Mel Gibson-starring film. A parallel voyage in an open boat by one of Bligh's descendants also features.
Cannes is the place where art meets schlock on the French Riviera. A year before Jane Campion's The Piano shared the festival's top prize, NZ-made documentary Cannes '92 managed to snare almost everyone standing, from Voight to Van Damme — including NZ entrants Alison Maclean (with her movie Crush) and Nicky Marshall (Mon Desir). Vincent Ward mentions the 14 companies involved in his Map of the Human Heart. Baz Luhrmann promotes Strictly Ballroom; Paul Verhoeven completely forgets the question after his Basic Instinct star Sharon Stone interrupts proceedings with a kiss.
Inspired by the ageing Burt Munro — who took his home-engineered motorbike to America, and won a land speed record — this passion project was Roger Donaldson's first locally made film in two decades. Variety called it a "geriatric Rocky on wheels”; Roger Ebert praised Anthony Hopkins' performance as one of the most endearing of his career. The result sold to 126 countries, spent five weeks in the Australian top six, and became Aotearoa's highest-grossing local film — at least until Boy in 2010. Alongside an excerpt and making of material, Costa Botes writes about the film here.
In these short clips from our ScreenTalk interviews, directors, actors and others share their memories of classic films, as we mark 40 years of the NZ Film Commission. - Roger Donaldson on odd Sleeping Dogs phone calls - David Blyth on Angel Mine being ahead of its time - Kelly Johnson on acting in Goodbye Pork Pie - Roger Donaldson on Smash Palace - Geoff Murphy on Utu's scale - Ian Mune on making Came a Hot Friday - Vincent Ward on early film exploits - Tom Scott on writing Footrot Flats with Murray Ball - Greg Johnson on acting in End of the Golden Weather - Rena Owen on Once Were Warriors - Melanie Lynskey on auditioning for Heavenly Creatures - Ngila Dickson on The Lord of the Rings - Niki Caro on missing Whale Rider's success - Antony Starr on Anthony Hopkins - Oscar Kightley on Sione's Wedding - Tammy Davis on Black Sheep - Leanne Pooley on the Topp Twins - Taika Waititi on napping at the Oscars - Cliff Curtis on The Dark Horse - Cohen Holloway on his Wilderpeople stars
Before he was a British MP Austin Mitchell spent time downunder, where he was a well known NZBC broadcaster in the 60s and published bestselling book The Half Gallon Quarter Acre Pavlova Paradise, a satirical commentary on all things Kiwi. In the first part of this three part series, he returns south to clock the changes. He begins at Otago University, where he lectured in the 60s, and notes a new Pākehā view of their history. Mitchell then talks wine with actor Sam Neill in Central Otago, and en route to Christchurch meets some uniquely 'mainland' entrepreneurs.
“The funniest, liveliest, most exuberant film ever made in New Zealand”. So said critic Nicholas Reid, a year after Came a Hot Friday became 1985's biggest local hit. Though Billy T’s loony Mexican-Māori cowboy is beloved by fans, he is but one eccentric here among many — as two scheming conmen hit town, and encounter bookies, boozers, country hicks, nasty crim Marshall Napier, and Prince Tui Teka playing saxophone. Until the arrival of The Piano in 1993, Ian Mune and Dean Parker’s award-loaded adaptation remained NZ's third biggest local hit. Ian Pryor writes about the film here.
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".