Without the NZ Film Commission, the list of Kiwi features and short films would be far shorter. In celebration of the Commission turning 40, this collection gathers up movie clips, plus documentaries and news coverage of Kiwi films. Among the directors to have had a major leg up from the Commission are Geoff Murphy, Peter Jackson, Taika Waititi and Gaylene Preston. In the backgrounders, Preston remembers the days when the commission was up an old marble staircase, and producer John Barnett jumps 40 years and beyond, to an age when local stories were seen as fringe.
Long before Ghost Chips, even before "don't use your back like a crane", life in Godzone was fraught with hazards. This collection shows public safety awareness films spanning from the 50s to the 70s. If there's kitsch enjoyment to be had in the looking back (chimps on bikes?!) the lessons remain timeless. Remember: It's better to be safe than sorry.
Animated plasticine. Talking chickens. Dancing Cossacks. Plus old favourites bro'Town, Hairy Maclary and Footrot Flats. From Len Lye to Gollum, feast on the talents of Kiwi animators. In his backgrounder to the Animation Collection, NZ On Screen's Ian Pryor provides handy pathways through the frogs, dogs and stop motion shenanigans.
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.
Recut from material shot at least five years before, this National Film Unit short appears to have been driven by the Tourist and Publicity Department. Coming in for praise are New Zealand’s primary exports (farm products), road and railways, and social security. In the 50s long distance air links were opening NZ up to the world but international tourism was not a major industry, and NZ was focused firmly on agriculture. People are shown farming, “a little unsmiling” on city streets, and at play (fishing, sailing and skiing). Kids drink milk and Māori are assimilating.
Off his own bat, Ilam art student Glenn Standring got his third-year short into competition at the Cannes Film Festival. The minimal plot — hipster private eye Lenny Minute dryly narrates, before facing his nemesis, a rampaging giant blue “sheila doll” — allows Standring to conjure up a distinctive collage-styled cityscape, mined from a grab-bag of Americana inspirations: 50s sci-fi, jazz, the hardboiled detectives of Dashiell Hammett, and star Marlene Dietrich. After this early computer-aided short, Standring joined the Gibson Group as an animator, then directed two stylish features.
Mini-series Bread and Roses recreates the early days of trade unionist and politician Sonja Davies. Behind the scenes, the $4 million production required 175 speaking parts, and dozens of sets — many built from plywood, “to make something out of nothing”. This documentary follows director Gaylene Preston and producer Robin Laing from preproduction and filming a dance scene in Wellington Town Hall, to (old-fashioned film) editing. Meanwhile lead actor Geneviève Picot talks about the challenges of portraying a character who often kept her vulnerabilities hidden.
Decades in Colour sourced home movies from more than 800 New Zealanders to paint a picture of New Zealand life, from "the inside out". Made by company Greenstone for Prime, each one-hour episode covered a decade from the 1950s to the 1970s, from post World War II recovery through to suburbia to cultural awakening. Presented by broadcaster Judy Bailey, the clips are narrated by the home moviemakers and their subjects. Bailey called it "a unique family history of the one family to which we all belong". A second series followed in October 2017.
This item from the long-running National Film Unit series tails cats and feline lovers. The humorous clip from 1956 begins in a woman's bedroom at 6am; the devoted cat owner preens herself and her Siamese cat, in preparation for the Auckland Champion Cat Show. Felines are examined at Auckland's Town Hall for diseases, since "an outbreak of ringworm would be a cat-astrophe"; and a judge dressed in her Sunday best checks over animals before kitty lovers are let into the hall. The Pictorial Parade series began in 1952. In its early years, each Parade consisted of multiple items.
This TV documentary sees director Peter Wells look at his life “through pansy-tinted glasses”. Motivated by the anniversary of his brother’s 1989 death (from AIDS) Wells’ film charts his path to becoming a pioneering gay filmmaker and writer: from growing up fascinated by colour and the glamour of royalty in conservative Port Chevalier in the 1950s, to baking, and deciding to come out when he was drafted to fight in Vietnam. As befits an artist whose credits include Desperate Remedies, the treatment is distinctive: a mixture of documentary, (aptly) flowery home movie, and quiet reflection.