Life imitated art when Matt Heath and Chris Stapp transformed their Back of the Y house band into a real act. Here they make a determined bid to wrest the drinking anthem crown away from Th’Dudes’ Bliss with their own ode to the amber liquid. Heath and Stapp’s video takes the tribute to the six pack from pained conception through live performance to post gig acoustic sing-along by way of a hail of beer cans. It’s also a chance to revisit tried and true Back of the Y favourites: from flaming helmets and wrestling masks to dodgy stunts and pyrotechnics.
Great adverts are strange things: mini works of magic, with the power to make viewers smile, cry, and even buy. Kiwi directors have shown such a knack for making them, they've been invited to do so across the globe. But this collection is about local favourites; dogs on skateboards, choc bar robberies, ghost chips. NZ On Screen's Irene Gardiner backgrounds the top 10 here.
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.
This collection gathers classic screen moments for the pavlova and pohutukawa season: from broadcasting icons (Goodnight Kiwi, Thingee), to barbies, bickering and beer. Families come together to eat and drink (Alison Holst, Peta Mathias, Graham Kerr), and fall apart (in full-length dramas from Niki Caro and Gregory King). Plus the Ghost Chips guy, and a Santa with tattoos.
This consolidating episode of the archive-based New Zealand history series finds World War II at an end, the return of Kiwi servicemen and the country in an optimistic mood. That's sealed by the 1950 British Empire Games where New Zealand is third on the medal table. But rising prices and low incomes lead to more militant unionism, culminating in the fractious waterfront workers dispute of 1951. At the same time there's a new flowering of the arts. The New Zealand Symphony Orchestra is established and a new generation of writers and artists take centre stage.
This special edition of the National Film Unit’s long-running monthly magazine series looks at some of the “people, places and events filmed by our cameramen during the years 1941 - 1962”. The NFU’s 21st birthday review — compiled by David H Fowler — ranges from wartime newsreels to the post-war boom (factories, dams, industrial agriculture), from salvos to Snell. With war ever present there’s a focus on the macro, but details make events relatable to Kiwi theatre-goers: NZ soldiers playing rugby in Korea or ciggies hanging from Ballantyne’s firefighters’ lips.
This silent film from 1945 showcases the making of “to-day’s great drink” (beer!), at Dominion Breweries’ Waitemata Brewery in the Auckland suburb of Otahuhu. Post-war, beer consumption was about to boom, with DB set to meet the demand. The film extols automation throughout the production process (though humans are seen contributing to the craft). Beer was still being brewed on the Otahuhu site 70 years later. Made by pioneering commercial filmmaker Robert Steele, the 16mm silent film was likely made for screening at trade fairs or winter shows.
This boisterous Geoff Dixon-directed commercial dates from the time when craft beer was yet to make a big mark, and Lion Red was NZ's number one beer. Hyperactive in a flannel shirt, a pre-Hercules Michael Hurst takes the mic at a pub talent quest, and sings a war cry for Kiwi blokes against wimpy pretenders like champagne cocktails and Mexican beers. Local advertising veteran Roy Meares wrote the "anti-yuppie commercial" (he was also behind the long-running Speights 'Perfect Woman' campaign). The Murray Grindlay-composed song became a pub anthem.
The Italian Job meets cheap jugs and a student union gig in this early heist tale from Geoff Murphy (Pork Pie, Quiet Earth, Utu). The plot follows some university students — short on exam fees and beer money — and their scheme to crack a campus safe ... the things kids got up to before internal assessment! Murphy enlisted $4000 and a bevy of mates (including Bruno on bongos) to make the film over nine months of weekends. It screened on TV on New Year’s Eve 1970; its assured pace and naturalist acting stood in stark contrast to the stage-derived telly standards of the time.
This edition of the National Film Unit’s wartime newsreel series tracks the 1000s of New Zealand prisoners of war being repatriated from Germany, shortly after VE Day. “Men from all over the world are here. Waiting to get out. Waiting to get back to their homes …” The ANZACs travel to a transit centre in Brussels, where they enjoy “a first real beer in years” and go sightseeing, before crossing the North Sea to be hosted in England, where thoughts turn south. The reel ends with a rousing rendition of the Māori Battalion marching song in an English pub.