This National Film Unit dramatised doco was boosterism for postwar immigration to New Zealand. Three Brits (Margaret, Cassie, Harry) travel and settle down under and the film records their hopes, jobs (nurse, factory worker, engineer), challenges (accents, 'casual' work ethic, locals wary of the ‘Poms’) and adventures in the new country (tramping, skiing, milk bars, the races, romance). Partaking in a glacier rescue raises Harry's spirits and assimilates him with the blokes. The film was released theatrically in the UK, and was scored by Douglas Lilburn.
Near the end of his life, renowned English composer Edward Elgar composed some of the greatest music of his career. This film examines the idea that Elgar's deeply emotional Cello Concerto in E Minor was provoked by memories of his first great love, Helen Weaver, who emigrated downunder after their relationship ended. After learning that Weaver's son had been killed fighting in France, Elgar was moved to write a war requiem. The award-nominated film mixed interviews, dramatisations, and a performance of the concerto by cellist Lynn Harrell and the NZ Symphony Orchestra.
City Life follows a tight-knit group of apartment-dwelling twenty-somethings (lawyers, bartenders, drug dealers, art dealers, et al) on the emotional merry-go-round of urban living. Created by James Griffin, the television series was an effort to create popular drama relevant to contemporary Auckland city life and to appeal to a Gen X demographic – to inject Melrose Place into Mt Eden. A bevy of Kiwi acting talent drink, dramatise and prevaricate to a soundtrack of contemporary NZ pop.
Toa Fraser's second English-set film (following 2008's quirky drama Dean Spanley) dramatises a real life siege at the Iranian Embassy in London, when gunmen held 26 people hostage in April 1980. Fraser and Dead Lands writer Glenn Standring take many angles on the tense six day siege: from politicians favouring a more aggressive approach than their lead negotiator, to the SAS team ready to storm the building, to BBC reporter Kate Adie (Bright Star's Abbie Cornish) covering events live on television. The film's international sales included a deal with Netflix.
In this National Film Unit-produced 'documentary' a circus sets up at the beach. Made for the Ministry of Works to stir debate about the use of coastal land, director Michael Reeves' wiggy treatment of the subject situates the film in the 'frustrated auteur meets sober commission' NFU tradition. Ringmaster Ian Mune is a seaside Willy Wonka canvassing claims to the coast. Demands of development, recreation, and housing are dramatised — including a bizarre look at stranger danger in suburbia, and a graphic illustration of the risks of off-mains sewage treatment.
One of those Blighters began life as a doco on Taranaki novelist Ronald Hugh Morrieson, but after interviews with many who knew him, morphed into something more offbeat: a semi-fictionalised tale of Morrieson’s mates reminiscing about his departure, interwoven with highlights from his tales of drunkards and con artists. The dramatisations are from his four novels - all became movies - plus one posthumously published short story. Amidst a cast packed to the rafters with carousing Kiwi screen legends, fellow multi-talented muso Bruno Lawrence plays Morrieson.
Aroha depicts a young Māori chief's daughter who embraces the modernity of the Pākehā world (attending university in Wellington) while confronting her place with her own people (Te Arawa) and traditions at home. The NFU-produced dramatisation is didactic but largely sensitive in making Aroha's story represent contemporary Māori dilemmas (noted anthropologist Ernest Beaglehole was the cultural advisor). Watch out for some musical treats, including an instrumental version of classic Kiwi song, 'Blue Smoke' and a performance of the action song 'Me He Manu Rere'.
Director Karl Zohrab’s docudrama makes the case for World War I military leader Major General Sir Andrew Russell to be resurrected in Kiwi popular memory alongside the likes of Freyberg. Based on Jock Vennell's biography, the film spans Russell’s life from his Hawke’s Bay childhood to Gallipoli and the Western Front — where the New Zealand Division commander was acknowledged for his tactical nous — to the latent effect of his war experience. It screened on The History Channel for Anzac Day 2014. Colin Moy (In My Father’s Den) plays Russell in battlefield dramatisations.
This fresh, unhurried film is drawn from a substantial interview with renowned writer Janet Frame by Michael Noonan; filmed largely at at Frame’s then-home on Whangaparoa Peninsula. It was part of the Three New Zealanders series made to commemorate the 1975 International Year of Women — an early John Barnett production. The rare footage of Frame — here aged 50 — presents a confident writer in her prime, and negates any stereotypes about Frame's inarticulacy or shyness. Note: the segments from the programme dramatising some of Frame’s work are not included here.
Made for the Forest Service by the National Film Unit this instructional film demonstrates essential firearms safety. Like later cautionary tales (eg. cult bush safety film Such a Stupid Way to Die) the film dramatises what can happen when things go wrong, before a hunter imparts "the five basic safety rules" (with obligatory ciggie hanging from lower lip). The rendering of the lesson might be hokey (compared to the explicit traffic safety ads of the '90s and '00s) but the message is deadly serious, as ongoing hunting tragedy headlines attest.