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.
This Pacific Films short provides a vivid snapshot of Australasian motor racing’s coming of age, before brand sponsorship or even crowd safety was on the agenda (look ma, no barriers!) Opening with the ’56 Australian Grand Prix on the streets of Melbourne — where producer Roger Mirams was shooting official newsreels for the Olympics — Stirling Moss scoops another international title, before we head to Auckland where the tragic death of Ken Wharton and a ‘see-sawing duel’ between Reg Parnell and Peter Whitehead makes for a dramatic day at Ardmore.
Tony Williams recognised that passion makes for compelling human interest whatever the subject and came up with the idea of a “pub battle” where three people from very different fields, but united by a common dedication to their respective callings, would be brought together to debate their obsessions. The subjects — choirmaster Maxwell Fernie, astronomer Peter (Night Sky) Read, and sports journalist Terry ‘TP’ McLean — are also filmed separately at work; shots of Fernie working with his choir are particularly notable in the scrum of sport, art and science.
This film comprehensively surveys Kiwi Olympic success to 1968. Footage includes triumphs from running men Lovelock, Halberg and Snell (trying a celebratory haka), and long jumper Yvette Williams; and podium efforts from Marise Chamberlain, Barry Magee and John Holland. The John O'Shea-made doco then meets athletes training for the upcoming Mexico Olympics. Reigning Boston Marathon winner Dave McKenzie runs on quiet West Coast roads and Warren Cole rows on Lake Rotoiti under snow-capped peaks. Cole would go on to win gold in the Men's Coxed Four.
Gliding On meets Borat, as a man pretending to be a fisherman from a fictional town heads to Wellington to find out if any government agency will take action about fish he says are dying in his river. Clad in jacket and tie and walk shorts and walk socks, he traipses the corridors of power which are artfully shot to look like a hell from which he will never escape. His attempts to find someone who can take action yield only a succession of impotent bureaucrats who participate happily but only to explain, often at length, why they can’t actually do anything.
This fictionalised account of pioneering 19th century photographers the Burton brothers is set partly in Dunedin during the closing stages of the New Zealand Wars. William and Alfred take contrasting approaches to representing their subjects — and are treated accordingly by the authorities, who are attempting to attract new settlers while brutally suppressing Māori. Produced by veteran John O'Shea (who co-wrote with playwright Robert Lord), the tale of art, commerce and colonisation was largely well received as a thoughtful essay at revisionist history.
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.