Geoff Murphy (Utu) directed this freewheeling adaptation of the Māori legend of Uenuku and his affair with mist maiden Hinepūkohurangi. The story of love, betrayal, and redemption was the first Māori myth adapted for TV — and the first TV drama performed entirely in te reo. The Listener softened viewers by printing a translation before it aired. Filmed at the Waimarama base of Murphy and cinematographer Alun Bollinger, Uenuku was produced by company Peach Wemyss Astor for the NZ Broadcasting Corporation — a rare independently produced TV drama in the 1970s.
Wild Man is the missing link between 1970s musical legends Blerta, and the burgeoning of Blerta trumpeter Geoff Murphy as a director whose talents knew few bounds. The Blerta ensemble relocated to the mud-soaked West Coast to create this tale of pioneer con men and silent movie style pratfalls. Bruno Lawrence and Ian Watkin arrange a fight — and betting — in each town they arrive in, while Bruno channels his inner wild man from under a leopard skin. Wild Man was released in cinemas alongside John Clarke and Geoff Murphy’s Fred Dagg comedy Dagg Day Afternoon.
The Italian Job meets cheap jugs and a student union gig in this early heist tale from Geoff Murphy (Goodbye Pork Pie). The plot follows some university students — short on exam fees and beer money — and their scheme to crack a campus safe. Murphy enlisted $4000 and a bevy of mates (including Bruno Lawrence in one of his earliest screen roles), and made it over nine months of weekends. It sold to local television (as well as the ABC in Australia). Its deliberately low key, naturalistic acting stood in stark contrast to the stage-influenced television dramas of the time.
Before the Blerta bus and Goodbye Pork Pie's yellow mini hit the road, some friends with more energy than cash dressed up as mad doctors and criminals, and began making films. This freeform short about running late is an early product of varied schemers who were key in the Kiwi film renaissance. Geoff Murphy plays the man in a hurry, and Bruno Lawrence is Dr Brunowski. Originally screened with live music, here it’s jazzed up with new opening credits and a 2012 soundtrack, led by Murphy on vocals. The result is an unbottling of youthful filmmaking pep. Warning: final credits not to be trusted.
Cowboys of Culture is director Geoff Steven's personal perspective on the Kiwi cinema renaissance of the 1970s. It traces the development of the local film industry from the ‘she'll be right' days when filming permits were unknown, and all that was needed to get a picture up were a Bolex camera, enthusiasm and ingenuity. Raw they might have been, but the films (Wild Man, Sleeping Dogs, Goodbye Pork Pie, Smash Palace) represented a vital new cultural force. The film features interviews with the major players, and clips from their movies.
Fane Flaws has popped up in all kinds of places: on the Blerta bus, holding a paintbrush, and behind a guitar and video camera.
After a young woman (Denise Maunder) falls pregnant, she decides to go against the tide of advice from her family and unsympathetic welfare authorities by keeping her baby. Misery and hardship ensues. Director Paul Maunder brought kitchen sink drama to NZ television with this controversial National Film Unit production. The story can claim to have effected social change, stirring up public debate about the DPB for single mothers. Keep an eye out for a young Paul Holmes as a wannabe lothario. Maunder writes about making it in this piece. Costa Botes writes about it here.
Before Simon Morris became resident film reviewer and arts presenter for Radio New Zealand, he had a freelance television career encompassing scriptwriting, reporting and directing. He wrote for high-rating soaps like Close to Home, City Life and Shortland Street, directed classic music videos and was a key part of the Radio with Pictures team.
Sydney-born Ross Chambers spent much of his career in New Zealand, honing sound and pictures for a variety of movies, plus the occasional television show. Along the way he edited Geoff Murphy's first feature Wild Man and worked as a sound editor on Kiwi classics Utu and Vigil.
Alun Bollinger, MNZM, has been crafting the slanting southern light onto film and other formats, for almost 40 years. He is arguably New Zealand's premier cinematographer; images framed by Bollinger's camera include some of the most indelible memories to come from iconic films like Goodbye Pork Pie, Vigil and Heavenly Creatures.