This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
After countless romances, breakups and revelations — plus the odd psycho and crashing helicopter — Shortland Street turned 25 in May 2017. Made on the run, sold round the globe, the Kiwi soap opera juggernaut has provided a launchpad for dozens of actors and behind the scenes talents. Alongside best of clips, the very first episode, musical moments and favourite memories from the cast, Shortland star turned director Angela Bloomfield writes about how the show has changed here, while Mihi Murray backgrounds how it began — and how it reflects New Zealand.
This documentary confronts attitudes to alcohol consumption in NZ. Interviews with those who see major problems (including police, ambulance, youth workers, Family Planning and Women's Refuge) and those who don't (brewers, advertising agencies, sports groups and publicans) are interspersed with often-graphic footage of excessive alcohol use. The challenging depiction of the culture piqued Lion Breweries, who complained to the Broadcasting Standards Authority. The BSA rejected their assertion that the programme was salacious, but did agree it "lacked balance".
Made by the NZ Broadcasting Corporation in the mid 1960s, this half hour TV documentary sets out to summarise New Zealand. More than a promotional video, it takes a wider view, examining both the country’s points of pride and some of its troubles. In a brief appearance Barry Crump kills a pig, although the narration is quick to point out that the ‘good keen man’ image he epitomises is also a root of the country’s problem alcohol consumption. The result is patriotic, but certainly not uncritical. Writer Tony Isaac went on to make landmark bicultural dramas Pukemanu and The Governor.
Famous as New Zealand television's first ever sitcom, Buck House was a rollicking and relatively risqué series that centred on the comings and goings of university students in a dilapidated Wellington flat — the eponymous 'Buck House'. Stars of the show included John Clarke, Paul Holmes, and Tony Barry (Goodbye Pork Pie). Despite (or more likely because of) its bawdy humour, occasional coarse language and alcohol abuse, the pioneering comedy sated the needs of many Kiwi viewers desperate for TV with identifiable local content and flavour.
This impressionistic, late 1960s survey traces Auckland from volcanic origins to a population of half a million people. Produced by the National Film Unit, it finds a city of "design and disorder" growing steadily but secure in its own skin as its populace basks in the summer sun. A wry, at times bemused, Hugh Macdonald script and an often frenetic, jazzy soundtrack accompany time honoured Queen City images: beaches and yachting, parks and bustling city streets, and an unpredictable climate given to humidity and sudden downpours.
Early teleplay The Evening Paper had the same rigid (theatre or radio-derived) format as other early TV dramas of the 60s, but it did something never before seen on local screens. Written by playwright Bruce Mason, the drama dared to expose a stifling NZ suburban existence. Jaded visiting Pom, Phillip; snivelling Winsome and her domineering mother Elfrida, and passive father Ernest, proved too much for viewers, who decried the drama as inaccurate and "unfair"; in other words, The Evening Paper gave Kiwis their first on-screen dose of cultural cringe.
In this interview publicising 1996 comedy The Birdcage, Robin Williams turns his humour settings to a surprisingly low level. Quizzed on matters political by Holmes reporter Ewart Barnsley, Williams argues that politically correct people can display the “same kind of repressive tendencies” as others, and admits that the portrait of homosexual parents in the Mike Nichols-directed comedy could be offensive to both gays and straights. But, he adds, the majority of viewers "go and laugh their ass off and find some common ground and humanity in it”.
Waking up with a vicious hangover after a big night out, Seff (Dahnu Graham) wanders Karangahape Road in need of keys to get into his house. Seeking only his flatmate and a flat white, Seff finds himself harrassed by all about a lewd act he has no memory of. Matters are made worse by the dubious company of Jeremy, who provides a running commentary while playing constant guitar. The black comic short was made as part of the K’ Rd Stories series, which celebrate the quirks and qualms of Auckland’s most notorious, and beloved road. Warning: contains some offensive language.
Sam Hunt is New Zealand’s best known and most visible contemporary poet; and, in an archive excerpt from this feature length documentary, Ginette McDonald calls him “the most impersonated man in New Zealand”. Director Tim Rose, who has known Hunt since he was a boy, decided too little was known about him beyond his flamboyant, public persona. So Rose spent four years making this documentary — mixing a wealth of archive material with interviews with Hunt, and those who know him best, and new footage of him reading his work and performing with David Kilgour.