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.
More than 100,000 New Zealanders served overseas in World War l. Over 18,000 died; at least 40,000 more were wounded. Campaigns involving Kiwis, from Gallipoli to the Western Front, were identity-forming, and the war's effects on society were deep. The World War l Collection is an evolving onscreen remembrance. Military expert Chris Pugsley writes about the collection here.
Brought to you from "the Samoan Embassy" (in reality the Naked Samoans' motel room) this episode of The Living Room follows the comedic theatre troupe during their time at the Edinburgh Fringe Festival. Then it retreats to the wild west coast of the South Island, where acclaimed cinematographer Alun Bollinger reflects on his diverse life and career. Also featured is the first 'proper' exhibition of Illicit artists on K' Road (featuring the late Martin Edmond), and a visit to small town Mangaweka, setting for Michael Reihana's surrealist short film Little Gold Cowboy.
This special edition of the National Film Unit’s 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 Peter Snell. Other images include Kiwi soldiers playing rugby in Korea, and cigarettes hanging from the lips of firemen fighting Christchurch's Ballantyne Department Store fire in 1947.
This documentary follows the 1973 Heatway Rally, a mud and oil-splattered event in which 120 drivers covered 3600 miles over eight days. Directed by future advertising legend Tony Williams, it was a major logistical exercise, with five camera units, shot by a who’s who of the 70s New Zealand film industry. In addition to high speed on-and-off road action, it includes an explanation of what co-drivers actually do, a chance for a driver’s wife to ride in a rally car, and driving and cornering montages set to orchestral accompaniment. It won the 1974 Feltex Award for Best Documentary.
Off the Edge was director Michael Firth's ode to the exhilaration of adventuring on the spine of New Zealand's Southern Alps. Something of a snowy Endless Summer, the film follows an American and a Canadian as they ski, hang glide, climb and delve beneath glaciers, in the Aoraki-Mt Cook area. Thrilling footage amidst spectacular scenery was shot over two seasons, where extreme weather and geography meant few chances for second takes. The film was nominated for an Oscar for Best Documentary in 1977. The Los Angeles Times called it "beautiful and awesome".
The Hum is about sailing legend Geoff Stagg, and his yacht Whispers. Directed by Tony Williams and written by Martyn Sanderson, the doco is a paean to the lure of sailing, focusing on Stagg’s colourful personality, and his veteran ocean-racing crew, as they take on the Wellington to Kapiti Island and down to the Sounds race. Fortunately for the film they deliver on reputation. Dolphins, Strait squalls, streaking, ciggies, and some fierce 70s moustaches are all in a weekend’s sailing. Stagg would go on to head renowned Farr Yacht Design (now Stagg Yachts).
This 1968 Looking at New Zealand episode travels to NZ’s third-largest island: Stewart Island/Rakiura. The history of the people who've faced the “raging southerlies” ranges from Norwegian whalers to the 400-odd modern folk drawn there by a self-reliant way of life. Mod-cons (phone, TV) alleviate the isolation, and the post office, store, wharf and pub are hubs. The booming industry is crayfish and cod fishing (an old mariner wisely feeds an albatross); and the arrival of tourists to enjoy the native birds and wildness anticipates future prospects for the island.
In 1951, New Zealand temporarily became a police state. Civil liberties were curtailed, freedom of speech denied, and the Government used force against its own citizens. Featuring interviews with many who were involved, this film tells the story of the infamous lockout of waterside workers, and the nationwide strike which followed. 1951 won Best Documentary at the 2002 New Zealand Television Awards, and John Bates was named Best Documentary Director.
Apparently it's not that New Zealand has a bad image in the USA, more that it has no image. In an attempt to remedy this situation, cameras follow New Zealand's favourite mid-70s country rocker Kenny Rogers (pre-'The Gambler') and his band the First Edition on tour on a Road Services bus. All western shirts, shaggy hair, beards and satin jackets, they see the sights, meet the people (many of them older, rustic characters), play baseball, put down a hangi, break into song and admire the country's slower, more dignified pace. If only it had a McDonalds...