“Only 40 hours by air from San Francisco and six from Sydney, Auckland New Zealand is on your doorstep.” In 1952, NZ tourism was also a long way from a core contributor to the national economy. A flying boat and passenger ship deposits visitors in the “Queen among cities” for this National Film Unit survey of Kiwi attractions. The potted tour takes in yachting, the beach, postwar housing shortage, school patrols, dam building and the War Memorial Museum, before getting out of town into dairy, racing and thermal wonderlands, where “you can meet some of our Māori people”.
This was the 24th edition of New Zealand Mirror, a 1950s National Film Unit series promoting New Zealand to British audiences. The first clip, about rugby's Ranfurly Shield, was deemed “too topical” by the UK distributor, and cut from later editions. The clip in question captures the colour of the national obsession (knuckle bones, livestock parades) at Athletic Park, where Taranaki challenge shield holders Wellington. It was later seen in Kiwi theatres as a short, playing with 1982 rugby tale Carry Me Back. The latter segments show Kaiapoi ploughing, and Wairakei thermal energy.
While convalescing down under Sir Charles Pemberton (Terence Cooper) schemes to build a thermal spa in the town of Wainamu c.1900. Conflict ensues as the spa’s planned location is on Māori land. The action is seen through the eyes of youngsters: hotelier’s son Tom, and Pemberton’s granddaughter Sarah Jane; who — along with an erupting volcano — eventually impart on Sir Charles a lesson about colonial hubris. The 13-part series was a marquee title from a golden age of Kiwi kidult telly-making: it won multiple Feltex awards, and screened on the BBC in 1980.
This Feltex award-winning kidult series is set in the colonial town of Wainamu in 1900, amidst the North Island’s ‘thermal wonderland’. It follows the challenges that Sir Charles Pemberton (Terence Cooper) faces in building a spa on Māori land. In this first episode, local lad Tom, son of the hotelier, is irritated by the arrival of Sir Charles and his aristocratic entourage (particularly granddaughter Sarah Jane, also known as “Little Miss Prim”). Their train is late after being spooked by natives. Tom's gang of shanghai-toting scallywags also take on the mean local butcher.
This edition of the 60s Sunday night magazine show travels to New Zealand’s most active volcano: White Island, situated offshore in the Bay of Plenty. The thermal activity on the privately owned scenic reserve is vividly captured as the camera roams the roaring, shuddering landscape and ventures past seething fumaroles into the crater. The tenuous history of human engagement with ‘Whakaari’ is covered: from Maui and Māori myth to the derelict remains of sulphur mining; including a 1914 eruption that killed 11 miners (with their black cat the only survivor).
This 1952 film ventures off the Bay of Plenty coast to New Zealand’s most active volcano: White Island. The National Film Unit production joins a team of DSIR scientists, supposedly the first humans in more than a decade to to view this “fantastic laboratory of nature”. They camp in the ruins of a sulphur mill, where the acidic fumes have disintegrated factory engines. Steam in fumeroles destroys thermometers — “mapping the land brings the party to many a scene like this: a scene from The Inferno”. Elsewhere, gannets nest, defying the inhospitable environment.
This pirates of the South Seas tale stars Tommy Lee Jones (Men in Black, The Fugitive) as rogue Bully Hayes, who helps a missionary save his kidnapped-by-savages wife. Produced by Kiwis Rob Whitehouse and Lloyd Phillips (12 Monkeys, Inglorious Basterds), the film was made in the 80s ‘tax-break’ feature surge and filmed in Fiji and New Zealand (with an NZ crew and supporting cast). John Hughes (Breakfast Club) and David Odell (Dark Crystal) scripted the old-fashioned swashbuckler from a Phillips story. It was released by Paramount in the US as Nate and Hayes.
In Haka Māori myth is re-told through a series of stirring haka performances. Men stomp, invoke, and do pūkana (tongue out, eyes wide) amidst spitting mud and fire and ... in Paremoremo Prison and under a motorway. These scenes are intercut with archive imagery of post-pākehā Māori life, from first contact to Maori Battalion, urban drift and protest. The film is a tribute to the raw power, and art, of haka. Ultimately the Once Were Warriors-like message "is positive because of the fierce, irresistible pride of the performances." Peter Calder, (NZ Herald, 1989).
This 1982 Kaleidoscope report interviews artist Theo Schoon, on his return to New Zealand after a decade in Sydney and Bali. Schoon was a pioneer as a Pākehā engaging with Māori design, melding modernist and Māori motifs (e.g. moko and kowhaiwhai patterns). He discusses his earlier estrangement from the New Zealand art world ("talking to the deaf"), his eight years documenting Māori cave drawings ("art galleries of a sort, art galleries that I'd never been conscious of"), growing and carving gourds, and being inspired by Rotorua’s geothermal activity. Schoon died in 1985.
This 1955 film looks at the “savage” geology of the North Island volcanic region, and its human settlement. Te Arawa myth introduces the steaming valleys of volcano and quake god Rūaumoko. The film then surveys geothermal activity and its exploitation by Māori and Pākehā, from cooking to heating hospital radiators. It ends with a dramatic geyser display in front of tourists. Guide Rangi cameos. It screened at the Edinburgh Film Festival, and was John Feeney’s last National Film Unit gig before directing Oscar-nominated films for the National Film Board of Canada.