Ada (Holly Hunter) has been mute since she was six. She travels from Scotland with her daughter (Anna Paquin) and her grand piano to colonial New Zealand, for an arranged marriage. When her husband, a stoic settler (Sam Neill) sells the piano to Baines (Harvey Keitel), Ada and Baines come to a secret agreement. She can win her piano back key by key by playing for him, as he acts out his desire for her. An especially big hit in Europe, Jane Campion's Oscar-winning tale of sexual emancipation in the bush is the only NZ film to have won the top award at the Cannes Film Festival.
Created for television by author Maurice Gee, The Fire-Raiser pits a quartet of smalltown school kids against a balaclava-clad figure with fire on the brain. In this episode, the children sneak onto the property of the man they suspect of terrorising their town. The police arrive after Kitty is trapped inside a room that has tragic memories for the suspect’s mother, the memorably moody Mrs Marwick. This WWI-era gothic adventure went on to score four Listener TV awards, including best drama; and Gee’s accompanying novel was published both here and overseas.
Arm yourself with jaffas and get set for debate: NZ On Screen has gone out on a limb and selected an all-time NZ feature film Top 10. Starring the icons of the Kiwi big screen — Blondini, Ada, Beth, Boy. Whet your appetite for our finest features via choice 10-minute excerpts of the movies. Cook the man some eggs, we're taking this Top 10 to Invercargill!
Sam Neill has acted in forgotten Kiwi TV dramas (The City of No) and classic Kiwi movies (Sleeping Dogs, The Piano, Hunt for the Wilderpeople). His career has taken him from the UK (Reilly: Ace of Spies) to Hawaii (Jurassic Park) to dodgy Melbourne nightclubs (Death in Brunswick). As Neill turns 70, this collection celebrates his range, modesty and style — and the fact he was directing films before winning acting fame. In these backgrounders, friends Ian Mune and Roger Donaldson raise a glass to a talented, self-deprecating actor and fan of good music and pinot noir.
Buckle up as we blast from the past Russ le Roq, gameshow host Paul Henry, tweenaged Kimbra and catwalk model Rach. Paul Casserly primes the collection: "pig out on these pre-fame Kiwis, gaze upon their fresh faces and remember the good times, before they were famous, before they became household names, movie stars, action figures and flavours of ice-cream."
For this screen showcase of NZ visual arts talent, critic Mark Amery selects his top documentaries profiling artists. From the icons (Hotere, McCahon, Lye) to the unheralded (Edith Collier) to Takis the Greek, each portrait shines light on the person behind the canvas. "Naturally inquisitive, with an open wonder about the world, they make for inspiring onscreen company."
In this 1971 film pianist Barry Margan ‘humps’ his grand piano around NZ, on a mission to bring classical piano to places where it might not typically be heard. Aiming to break down barriers to enjoying live chamber music, Margan plays his pop-up piano (including Douglas Lilburn’s ‘Sonatina’) at coffee bars, libraries and art galleries. The trailer-borne grand is not easy to set up, but the audiences (from soldiers to children) are willing. Narrated by Margan, this was the last film in the National Film Unit's three decade-spanning Pictorial Parade magazine series.
This documentary follows Auckland-based, Italian-born pianist Flavio Villani as he prepares to play Sergei Rachmaninoff’s demanding Piano Concerto No. 2 in Italy — his debut performance as a soloist with an orchestra. Director Rebecca Tansley, who funded much of the documentary herself, tails Villani from four months before the recital that will challenge the prodigal son to affirm his career choice and sexuality, in front of his Italian ex-military father. When it debuted at the 2015 Auckland Film Festival, Crossing Rachmaninoff won a standing ovation.
This short Auckland-shot interview for arts show The Edge screened as Holly Hunter was appearing in two Oscar-nominated roles: The Piano and The Firm. Hunter discusses playing a hitman-hiring housewife, and joining Tom Cruise in The Firm. Weighing up past roles, she cherishes Raising Arizona and Broadcast News, but feels that The Piano is “the most original story that I've been involved in”, and Jane Campion is “one of the great directors.” In March 1994 Hunter would win an Oscar for Best Actress (alongside Piano Oscars for co-star Anna Paquin, and for Campion's screenplay).
This 1993 interview from the first series of arts show The Edge screened while The Piano was in Kiwi cinemas. Earlier that year Jane Campion had become the first (and only) female director to share the top award at the Cannes Film Festival. Here, she discusses the antipodean character of her next project ( The Portrait of a Lady) and the satisfaction of offering Nicole Kidman a role that isn’t “like a handbag to one of the male stars”. She also muses on working in Hollywood versus her hometown Sydney, and the influence of a New Zealand upbringing on forming her imagination.