This wryly-titled 80s show was a homegrown take on US show That’s Incredible!, with the spectacular stunts and supernatural happenings of the original replaced with more downbeat kiwiana kitsch subjects. This excerpt from an end of season review looks at highlights from presenter Phil Keoghan’s contribution. The future Amazing Race host tries a spaghetti eating competition (post-bungy jumping), giraffe feeding, land sailing, snowboarding, male cheerleading, cow pat tossing and a cowboy up challenge. TFI was the first series from production company Communicado.
Dressed as a 1920's flapper bride, Karyn Hay introduces highlights from the TVNZ rock show’s televised concerts at the now demolished Mainstreet Cabaret on Auckland's Queen Street. The songs are Dance Exponents' 'All I Can Do' (with a sweaty Jordan Luck), an impassioned 'Billy Bold' from Graham Brazier's Legionnaires, Hip Singles' 'After the Party' (with snappy high kicks from Dick Driver), a brassy 'Outlook for Thursday' from Dave Dobbyn's DD Smash, a rocking 'Look the Other Way' from The Narcs and Coconut Rough's moment in the sun 'Sierra Leone'.
This collection is a celebration of the eccentric, exuberant career of NZ screen industry frontrunner Tony Williams. As well as being at the helm of many iconic ads (Crunchie, Bugger, Spot, Dear John) Williams made inventive, award-winning indie TV documentaries, and shot or directed pioneering feature films, including Solo and cult horror Next of Kin.
Cut from the thousands of titles available to view on NZ On Screen, this promo clip was put together for the occasion of the site’s 2015 redesign. Get a taste of the Kiwi screen magic made accessible to a million plus visitors a year, with a montage of iconic moments (from infamous pie-eating advice to the Wahine disaster), NZ heroes (Snell, Apiata), clips from classic film, TV and music videos (from Gloss to Once Were Warriors, Billy T to Boy), interviews with the people behind the productions, and screen taonga — from Tangata Whenua to Count Homogenized.
The theatre of sport is given full-blown operatic treatment in this National Film Unit classic. Footage from the French 1979 rugby tour of New Zealand is rendered in slow-motion and cut to a Tchaikovsky score. The result is an often glorious, sometimes tongue-in-cheek, paean to rugby. Balletic lineouts, driving tackles, and the dark mysteries of the ruck, make for a ballsy Swan Lake in the mud. It includes the Bastille Day French victory over the All Blacks. Directed by NFU stalwart Arthur Everard, it won a jury prize at the Montreal World Film Festival.
This 1981 promotional short snaps the clapperboard on the National Film Unit’s new filmmaking facilities at Avalon. The Unit had moved from its Miramar birthplace to the Lower Hutt complex in 1978 (it was officially opened on 18 October that year). Narrated by Bob Parker and scored to a funky soundtrack, the film is a guide through NFU production processes. A montage of production scenes is followed by a look at film processing once the film is ‘in the can’. Tricks of the trade depicted include rear projection, film colouring and foley (sound effects).
One of NZ television's more notorious episodes, the 1987 Gofta Awards start promisingly with an extended montage of Auckland scenes (just before the share market crash) but it's downhill from there. Presenters Leeza (Entertainment This Week) Gibbons and Nic Nolan look bizarre in silver suits; an underfed and over excited audience grows more and more vocal; special guest John Inman (Mr Humphries from UK sitcom Are You Being Served?) is heckled; and things come badly unstuck as timing issues see winners turned away as they try to collect their awards.
The late 60s saw globetrotting filmmaker Tony Williams shoot and edit two films for Iranian director Mahmoud Khosrowshahi. Here Williams chronicles an east meets west festival held in the Iranian city of Shiraz. Williams’ love affair with music and montage helps lend pace and life to a film whose sonic interests range from Iranian lutes and Indian oboes to American Cathy Berberian, who is busy turning comic strips into song. A glimpse of cosmopolitan Iran prior to the Iranian Revolution, it includes a rare interview with New Yorker classical music critic Andrew Porter.
This 1978 National Film Unit documentary chronicles the daily lives of New Zealanders in various places: factory, beach, hospital, oil rig, country town, sheep farm, market garden, Auckland produce market, art gallery and primary school. Narration-free, the film features montages of stills by photographer Ans Westra. The impression is of New Zealand as a busy nation of makers and growers, alongside singing ‘Oma Rapiti’ at the bach and visiting the art gallery. Terry towelling, walk shorts, and denim shirts are date stamps. The script is by onetime Variety film reviewer Mike Nicolaidi.
The fall of the Iron Curtain was still several years away when Shona Laing wrote her first APRA Silver Scroll winner 'Soviet Snow'. The world had been "teasing at war like children" over decades of the arms race and Cold War brinksmanship and the threat of nuclear winter was very real. The video is a suitably chilly but dizzying montage that marries Russian iconography and Soviet imagery to the song's urgent synthesised beats. Laing later stripped 'Soviet Snow' of its synthpop trappings in an acoustic version on her 2007 album Pass the Whisper.