The late Barry Barclay [Ngāti Apa] was one of New Zealand's most respected filmmakers. He directed such landmark titles as TV series Tangata Whenua, award-winning film Ngati, and The Feathers of Peace. Barclay was also a longtime campaigner for the right of indigenous people to tell their own stories to their own people.
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...
Author Maurice Shadbolt went before the cameras to play father to the main character, in this adaptation of his acclaimed coming of age novel. Teen Nick (Paul O’Shea) is estranged from his family, and blaming himself for his Māori mate's climbing death. He runs away to his straight talking grandfather (Derek Hardwick) — who takes him bush — and loses his virginity to Sally (a first film role for Rebecca Gibney). Produced by Pacific Films legend John O’Shea, the NZ-German co-production was directed by Rolf Hädrich (Stop Train 349). The film debuted in NZ on television.
Without the NZ Film Commission, the list of Kiwi features and short films would be far shorter. In celebration of the Commission turning 40, this collection gathers up movie clips, plus documentaries and news coverage of Kiwi films. Among the directors to have had a major leg up from the Commission are Geoff Murphy, Peter Jackson, Taika Waititi and Gaylene Preston. In the backgrounders, Preston remembers the days when the commission was up an old marble staircase, and producer John Barnett jumps 40 years and beyond, to an age when local stories were seen as fringe.
Cannes is the town in France where Bergman meets bikinis, and the art of filmmaking meets the art of the deal. In 1975, a group of expat Kiwis managed to score interviews with some of the festival's emerging talents, indulging their own cinematic dreams in the process. Werner Herzog waxes lyrical on the trials and scars of directing; a boyish Steven Spielberg recalls the challenges of framing shots during Jaws; Martin Scorsese and Dustin Hoffman talk a gallon. Six years later interviewer Michael Heath's debut script The Scarecrow would be invited to Cannes.
Before turning to directing, Barry Barclay did more than five years training to become a priest. That experience surely percolates through his film Ashes, with its reflections on identity, spirituality and living (or feeling) apart from others. The film centres on the thoughts of four people: an artist, a woman struggling with her identity as a high achiever, an actor, and a priest. Are all of them acting, or only Sam Neill? The film features readings from Ash Wednesday, the poem written by TS Eliot after converting to anglicanism. Ashes screened on NZ television on 17 March 1975.
“A film developed from the imagination of New Zealand children” is how director Tony Williams describes this remarkable, sprawling mix of drama and documentary. It features a fictitious teacher (writer Michael Heath) working with a class of 11-year-olds from Petone to explore what freedom means to them. At times their notions might seem naive but the film remains firmly non-judgmental. The free-wheeling approach, most memorable in the Paekakariki beach fantasy scenes, makes for a “wonderfully idiosyncratic” (film historian Roger Horrocks) hymn to juvenile freedom.
Opening with an image of Orpheus floating on the water, this inspired doco climaxes with a contender for NZ's most eyeopening montage yet. Loaded with examples of the infinite ways the human voice can make music, the film sees host Julian Waring introducing choirs, opera, balladeers and protest singers. Along the way Michael Heath recreates a performance by Florence Foster Jenkins, a worryingly close cousin of Asian-New Zealand songbird Wing. The mash-up finale uses 2000 photographs to summarise two decades of music, in a scene that must have blown minds in the suburbs.
This 1976 documentary examines India’s third Prime Minister, Indira Gandhi. Her father took office as Prime Minister in 1947, the day India became independent from Britain. Framed around an extended interview with Gandhi, reporter Dairne Shanahan explores India and Indira’s history, and her controversial ‘emergency’ governing of the democracy’s 600 million people. The documentary was directed by Barry Barclay and produced by John O’Shea for Television One, as a pilot for a series that was never made. In 1984 Gandhi was assassinated by two of her bodyguards.
“The big ALL FUN show for the whole family to enjoy!” said the ads for this musical comedy, which was one of only two Kiwi features made in the 1960s. Moving from Sydney to a Rotorua music festival, it follows the romance between a lively drummer (Gary Wallace) and Judy (Carmen Duncan), and the hurdles they face to stay true. That's only an excuse for a melange of madcap musical fun. Made by John O’Shea for Pacific Films, the movie featured performers Howard Morrison (who sings in this excerpt), Lew Pryme and Kiri Te Kanawa, plus distinctive graphics by artist Pat Hanly.