A death-bed confession from a touch judge leads to a repeat of a test match between the All Blacks and Wales played 25 years earlier — with the same players. Before the footy, a former Welsh star is forced to face up to a past romance. Mateships and rivalries are rekindled in this genial "what if" yarn, that celebrates and satirises two nations' rugby obsessions. It won best screenplay and supporting actor (John Bach) at 1992's NZ Film Awards. The cast saw former All Blacks and Welsh rugby reps playing alongside acting greats from both countries.
With his impassioned enthusiasm and trademark beard, English naturalist David Bellamy made this well known 1989 community service message for the Department of Conservation. “It’s a nasty, horrible plant and it’s smothering and killing New Zealand’s native bush, and that is a catastrophe ... a trim is not enough — we’ve got to destroy it in every way we can — old man’s beard must go!”. Bellamy is a long-term advocate for the conservation of NZ’s natural heritage, presenting the Moa’s Ark series, as well as famously promoting Woolmark carpet.
A continuation of the classic 70s UK TV series cherished by herds of horse-loving girls, the New Adventures follow Vicky Denning (Amber McWilliams) who has emigrated to the antipodes with her step-mother, where she is captivated by a mystic black horse. The co-production was set in NZ, produced by Tom Parkinson and features many Kiwi names in front of and behind the camera (Illona Rodgers, Ken Catran). This extract from the first episode follows preparations for the trip down under, and introduces Vicky to the original Black Beauty.
This third episode in presenter Peter Hayden’s journey across latitude 45 depicts the “new gold” of the booming tourist trade. On the Clutha River, archaeologists race ahead of the construction of a dam, digging for a soon-to-be-submerged mining past. The road to Skippers Canyon induces vertigo. Hayden rafts through the Oxenbridge brothers’ tunnelling feat, a failed project aimed at diverting the Shotover River in the hope of finding gold on the exposed bed. Alan Brady is filmed in his newly-established winery, the first in a region now famed for its wine.
Bill Ralston examines more family business empires in part two of Old Money. With varying mixes of vision, hard work and eccentricity, the Hudsons (biscuits), Sargoods (merchants), Hallensteins (clothing), Hannahs (shoes) and Shacklocks (ironmongers) made fortunes that gave their families grand houses and gracious lifestyles. Some of the brands have survived and their legacies include 65,000 items gifted to Otago museum by the Hallensteins and Downstage’s theatre endowed by Hannah money. (Robert Hannah was the maternal great-grandfather of director Jane Campion.)
This Bill Ralston-fronted two part documentary looks at Auckland’s great family business empires: the Nathans (merchants and brewers), Myers (brewers), Wilsons and Hortons (newspapers) and Winstones (construction). With fortunes made in the pioneering days of the 19th Century, they created products that became household names and dynasties that dominated local commerce. Most failed to evolve and were picked off by the corporate raiders of the 1980s, but they left behind a legacy of fine homes, major buildings and community bequests.
A fictional memoir of a 12-year-old boy's holiday on his uncle's farm, Old Man's Story is also a character study of the personable, potentially dodgy ex-sailor who works there as hired hand. When an orphaned girl comes to stay, there are worries the man has crossed the line in his relationship with her. The first drama for Wellington company The Gibson Group, Old Man's Story also marks a rare screen adaptation of author Frank Sargeson, whose tales of losers and outsiders made him "one of the founders of a modern New Zealand literature" (Lawrence Jones).
Whale Rider director Niki Caro’s fourth short film is comprised of six vignettes — each focusing on a different elderly man. With minimal supporting cast (Joel Tobeck has a cameo as a competence-challenged waiter), the men talk mainly to themselves or the camera. Shot on Super 8mm (with graphics from an overhead projector), Old Bastards attempts to “subvert our kindly and slightly condescending view of old men”; its dark alternative view instead paints the aging male as vigorously intolerant, lecherous, impotent, trapped or just lost.
Nominated for a Qantas Media Award, this documentary examines prejudices against Asians in New Zealand, amidst the context of burgeoning immigration (80,000 ethnic Chinese and 20,000 Koreans have arrived in NZ since 1988). Directors John Bates and Manying Ip look back at the history of Asian settlement in Aotearoa, from colonial xenophobia and the poll tax inflicted only on Chinese migrants, through ‘ching chong Chinaman’ abuse, to the present day — where 21st century migrants face struggles with discrimination, language barriers and integrating in their new home.
'My Old Man’s an All Black' was a big hit for the Howard Morrison Quartet in 1960. The song subverted 'My Old Man's a Dustman' to mock an apartheid South African decree banning Māori players from the touring All Blacks. In this 1990 performance, Morrison and Billy T James (months after heart surgery) update the song’s lyrics for a more recent controversy: the dropping of popular All Black captain Wayne 'Buck' Shelford. Howard ribs rugby’s supposed amateurism, and Billy T explains why Buck isn’t packing down in the scrum. The final haka includes an unexpected guest...