This four-part series explores New Zealand social history through rugby, from the first rugby club in 1870 to the 1995 World Cup. In this episode commentators muse on the roots of rugby in a settler society, in "a man's country". Rugby's unique connection with Māori, from Tom Ellison and the Natives’ tour to a Te Aute College haka, is explored; as well as the national identity-defining 1905 Originals’ tour, and the relationship between footy and the battlefield. As the Finlay Macdonald-penned narration reflects: “Maybe it's just a game, but it's the game of our lives”.
Men of the Silver Fern was a four-part celebration of all things All Black, made in 1992 for the centenary of the NZRFU (now known as New Zealand Rugby). This first episode covers the early period from when Charles Monro kicked off the sport in NZ in Nelson on 14 May 1870, through the establishment of rules, provincial unions and the New Zealand Rugby Football Union. The programme surveys the front-running international tours — from the 1884 Flaxlanders to the 1888 Natives, 1905 Originals and 1924 Invincibles — where the All Blacks’ "winning reputation" was forged.
This short follows Joe Warbrick (Calvin Tuteao, from Nights in the Gardens of Spain), captain of the New Zealand Natives rugby team, as he tries to rouse his battle-weary players to head unto the breach once more, for a test against England. It’s midwinter during the trailblazing, 17 month long 1888-89 tour which left a black jersey legacy. In a changing room that resembles a casualty ward, Warbrick draws breath and leads a stirring haka. Made by brothers Pere and Meihana Durie, Warbrick inspired the All Blacks the day before they demolished Australia by 33-6 in 2009.
This episode of Pictorial Parade, a long-running National Film Unit newsreel series, presents three events: at Mt Bruce, a native bird reserve is opened, the New Zealand Cricket Team’s tour of India is lost 1-0, and Miss World, Ann Sidney (UK), leads the way in fashion at the 1965 Wool Award and Fashion Parade in Lower Hutt. Watch for takahē feeding from the hand, a disconsolate kiwi being held by the Minster of Internal Affairs, Miss Hutt Valley Wool Princess finalists sashaying in the latest fashions, and the New Zealand cricket team sightseeing in India.
In the third episode of this drama based on the 1888-89 tour of Great Britain by the NZ Natives rugby team, the romance between Pony and Charlotte is gathering momentum. Charlotte’s grandfather — the Earl — might be alarmed by the tryst, but the Cambridge University rugby team has a far blunter way of expressing their displeasure with a Māori rugby player trying to cross class and racial lines. In the face of such opposition, Charlotte and Pony attempt to follow their hearts, but can they resist the pressures now being exerted by both of their cultures?
In the first episode of this dramatic mini-series based on the 1888-89 tour of Great Britain by the NZ Natives rugby team, Pony (Peter Kaa from movie Te Rua) must leave his mother (Rena Owen) and grandfather (Wi Kuki Kaa), to join the side. His motivation isn’t just rugby related — he hopes to find his English father who he has never met. The Natives have an early supporter in an Earl (Ian Richardson of House of Cards) who is a rugby fan intrigued by the novelty of these “savages”. Meanwhile, his granddaughter (Liza Walker) discovers an interest of her own — Pony.
In the second episode of this drama based on the 1888-89 tour of Great Britain by the NZ Natives rugby team, Pony — one of the side’s stars — is courted by society and invited to shoot with the Prince of Wales; and his Māori blood is also a novelty in the music halls. He’s hoping to renew his acquaintance with Charlotte — the granddaughter of a rugby loving Earl — but there are matches to be played in London. Locating his English father is far from heart warming, but his disappointment is more than compensated for as Charlotte follows him to the city.
This documentary looks at Māori painter/sculptor Darcy Nicholas. Nicholas grew up in the Taranaki, among extended whanau. “We didn’t have much money, but we had a lot of aroha and a lot of land to play in”. Director Lala Rolls looks at Nicholas’s relationship to his Māoritanga, and at how he took on the mantle of helping organise Toi Māori: The Eternal Flame — the first touring exhibition of Māori weaving. He and other participants recall travelling to America, and weaving “a map of friendship” with native American tangata whenua.
This NFU tourism promo from 1986 showcases all that the north of the North Island has to offer. As holidaymakers Dave and Julia peruse the sights and sounds of Auckland, they provide a high speed guided tour of its nightlife and many attractions. After Julia exits unexpectedly for LA — possibly to moonlight on another tourist film — Dave is joined by Jacky. The two venture up to Ninety Mile Beach and, after exploring the native bush and enjoying a spot of fishing, end their stay with a bonfire by the sea, a stark contrast to the cosmopolitan delights of Auckland.
In 1983, director Geoff Murphy stormed out of the scrub of the nascent Kiwi film industry with a quadruple-barreled shotgun take on the great New Zealand colonial epic. Set during the New Zealand Wars, this tale of a Māori leader (Anzac Wallace) and his bloody path to redress 'imbalance' became the second local film officially selected for the Cannes Film Festival, and the second biggest local hit to that date (after Murphy's Goodbye Pork Pie). A producer-driven recut was later shown in the United States. This 2013 redux offers Utu “enhanced and restored”.