This dramatised documentary looks back to 1955, when a female bottlenose dolphin began appearing regularly in Hokianga Harbour, close to the town of Opononi. Opo became a national celebrity, but died in controversial circumstances on 9 March 1956, the suspected victim of bombing by local fisherman. Directed by Steve La Hood (Numero Bruno, Swimming Lessons), the film recreates events of the summer and explores the belief of local Māori that Opo was a messenger sent by Kupe to unite the people. It includes interviews and extensive archival footage of Opo.
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.
An elegiac profile of artist Eric Lee-Johnson, by Maurice Shadbolt, is the high point of this NFU magazine film. Johnson gave up a lucrative commercial career to pursue his vision of a New Zealand art moving beyond European tradition; and he is observed chronicling abandoned homesteads and churches, built in remote reaches of Northland's Hokianga harbour by early Pākehā settlers. There's light relief in coverage of a chimpanzees' tea party at Wellington Zoo, while a suitably breathless piece looks at a new industry manufacturing fibreglass boats.
Although best known as a writer, Maurice Shadbolt also did time as a filmmaker. In his 20s he made a number of films at the National Film Unit, as part of a career that encompassed fiction, journalism, theatre and two volumes of autobiography. His classic Gallipoli play Once on Chunuk Bair was made into a feature film in 1992.
As an intrepid young cameraman for the National Film Unit, Don Oakley travelled to remote parts of New Zealand and brought to the screen scenes of the recently-rediscovered takahē, Opo the dolphin, and life in the backblocks. In a lengthy career, he also filmed in the studio and overseas, rising to be chief cameraman of the NFU.