In this feisty late 1976 The Friday Conference interview, host Gordon Dryden holds Prime Minister Muldoon to account over his 1975 election pledges. Dryden challenges Muldoon’s touting of freedom (amidst price freezes, wage controls and an All Blacks tour to apartheid South Africa), and the PM's description of himself as a liberal (with heated talk about insults traded during the Colin Moyle affair). Dryden evokes the spectre of the McCarthy era, and a pugnacious Muldoon invokes “the ordinary bloke”. Muldoon later refused to be interviewed by Dryden again for the show.
Some argue that if the 1981 Springbok rugby tour of New Zealand had been halted from the outset, the impact on the hearts and minds of South Africans would not have been as profound. This Leanne Pooley-directed film aims to show how events in Aotearoa (captured in Merata Mita's documentary Patu!) played out in South Africa; how the tour protests energized blacks, shamed the regime, and provoked democratic change. Says Archbishop Desmond Tutu: "You really can't even compute its value, it said the world has not forgotten us, we are not alone."
Merata Mita’s Patu! is a startling record of the mass civil disobedience that took place throughout New Zealand during the winter of 1981, in protest against a South African rugby tour. Testament to the courage and faith of both the marchers and a large team of filmmakers, the feature-length documentary is a landmark in Aotearoa's film history. It staunchly contradicts claims by author Gordon McLauchlan a couple of years earlier that New Zealanders were "a passionless people".
Are workplaces a chance for mutual gain, or is it only the higher ups that benefit? Dean Parker's award-winning script for this Sunday TV drama certainly doesn't duck the awkward questions. Joel Tobeck and Luisa Burgess play Bosco and Selena, who get factory jobs as assembly workers, get it on, then take opposing sides on motivational talks by management. Conscious the story would be punctuated with advertisements, Parker decided to counterattack by slipping in occasional clips from an interview with legendary unionist Jock Barnes. Later Parker turned the film into a play.
In this episode of the archive-compiled history series, Bernard Kearns focuses on the Roaring Twenties. Soldiers returning from the First World War struggle to tame the land as commodity prices fall. The Labour Party, with miners as its backbone, gains a foothold on the political scene, and the Ratana Church emerges as an alternative to more distant Māori leaders. In Dunedin, the New Zealand and South Seas International Exhibition proves a huge success and members of the Royal Family are popular visitors to our shores. But the Great Depression looms.
This award-winning 1973 TV drama follows the career of PM Richard 'King Dick' Seddon from the events leading to his premiership in 1893, until his death in 1906. Writer Michael Noonan intersperses speeches and cabinet discussions with vignettes of Seddon's interaction with pressure groups and voters. Tony Currie (Close to Home) won a Feltex Award as the colourful Seddon, who forced through groundbreaking legislation. Listener reviewer Roger Hall praised it as New Zealand's "best historical documentary" to date. Watch out for broadcaster Brian Edwards as an opposition MP.
One of the last films shot by longtime cameraman Bert Bridgman before his death, this 1958 promotional film follows an American tourist with a licence to fish in New Zealand, her “passport to pleasure”. Narrated by Pulitzer-Prize winning writer and conservationist Louis Bromfield, the film quotes liberally from English 'father of fishing' Izaak Walton, as the “gal from the States” is given fly fishing instruction. The life cycle of trout is shown, and the film — directed by onetime war correspondent Ron McIntyre — ends with a contest of wits between wily angler and trout.
Peppermint Twist’s pastel-tinted portrait of 60s puberty floated onto New Zealand television screens in 1987. Despite winning a solid teen following, it only lasted for one series. Set amongst a group of teens in small town Roseville (in reality the outdoors set on the edge of Wellington, originally used for Country GP), the show’s stylised look and sound had few Kiwi precedents — though its links to American perennial Happy Days are clear. Peppermint made liberal, and increasingly confident use of period music, with each episode named after a pop song of the day.
Something of an antipodean Seven Up! (a series of life-chronicling British documentaries) this documentary picks up on the stories of four young Māori — now middle-aged — 24 years after they moved to the Wellington as part of a Māori Affairs Department redeployment program. It makes liberal use of the original film to contrast the cowshed to cubicle journeys; and revisits Ripeka (now in Hamilton), Moana (Guam via Japan), Grace (Wellington), and Phillip (Brisbane), who reflect on the paths their lives have followed, and on their Māori culture and where 'home' is.
London-born Graham Kerr’s first appearance on NZ telly was in 1960 as an Air Force catering adviser. The RNZAF omelette demonstration was the beginning of a career that would see Kerr become an internationally pioneering TV chef, liberally mixing personality — a patient, slightly naughty uncle, always ready with a risqué quip — and butter, cream or wine-soaked recipes. The Graham Kerr Show was the last series he made in NZ before galloping off overseas, and his worldly sophistication introduced Kiwis to horizons beyond the confines of their own insular cuisine.