This 1949 NFU film is a whistle-stop tour of Aotearoa that, per the title, takes in the full gamut of the scenic wonderland. Splendidly filmed in Kodachrome, there are lakes (Tutira, Manapouri, Te Anau, Wakatipu), caves (Waitomo), mountains (Cook/Aoraki, Egmont/Taranaki) and forests and farms aplenty, with the occasional city sojourn and an obligatory ferry shot. In the narration indefatigable nature is harnessed for man’s needs and appreciation. Of note is a sequence on gum-collector Nicholas Yakas, who shows impressive agility as he scales a giant kauri.
The hard-working search and rescue volunteers of Wanaka and Fiordland are profiled in South Pacific Pictures series High Country Rescue. This eighth episode looks at an elderly mountain biker who’s taken a tumble, an injured Israeli hiker who has good fortune with some kind locals, and an embarrassed young new year's reveller who underestimates the cold of Mt Roy. Despite the trying situations the volunteers keep spirits high. One rescue turns to farce when the responders get their ute stuck up a hill and require a rescue of their own.
This documentary follows a Southern Alps ski competition for local and off season northern skiers. Organised by Coast to Coast impresario Robin Judkins, the ‘grand slam’ series begins with a chopper ride to Black Peak for powder 8 and telemark skiing; and then it's above Lake Wanaka for slalom, ski jumping, and a grunty "air, style and speed" mogul. Après-ski competing there's a springtime descent down Mt Taranaki. It wouldn't be Kiwi skiing without kea, and the discipline of the inner tube. The crisp sax and synth 80s score is by Hello Sailor's Dave McArtney.
Half-hour documentary The Reel People of New Zealand visits boutique cinemas, from Te Awamutu’s Regent Theatre to Stewart Island’s Bunkhouse. The changing landscape of movie-watching is revealed through visits to legendary Christchurch video store Alice (which has added a screening venue) to Opunake’s community-owned Everybody’s Theatre and Wanaka’s compact Rubys Cinema. The interviews include cinema and video store managers, tales of getting married in a cinema, and contrasting views on whether the death of cinema is unlikely or inevitable.
This documentary confronts attitudes to alcohol consumption in NZ. Interviews with those who see major problems (including police, ambulance, youth workers, Family Planning and Women's Refuge) and those who don't (brewers, advertising agencies, sports groups and publicans) are interspersed with often-graphic footage of excessive alcohol use. The challenging depiction of the culture piqued Lion Breweries, who complained to the Broadcasting Standards Authority. The BSA rejected their assertion that the programme was salacious, but did agree it "lacked balance".
Barry Crump's iconic deer hunting yarn A Good Keen Man captured Kiwi imaginations. Published in 1960, it quickly sold 300,000 copies, and with Crump cast as an "ironic, laconic sort of super-bushman", made him a legendary literary figure. This excerpt from the award-winning documentary looks at Crump's upbringing and early success as a writer. The full 72-minute documentary covers everything from his fractured family relationships, violence, a life-changing incident on a bush camp, and discovering religion, to the ads for Toyota that reignited Crump's profile in the 80s.
Phil Keoghan’s pre-Amazing Race screen education included profiling Kiwi adventure sport thrillseekers in a series of short vignettes for TV3’s Mobil Sport. Scored to a sampler of early 90s pop music, these clips focus mostly on rad airborne acrobats: a ‘para-bungee’, the then-new sport of skysurfing, riding atop a Tiger Moth, Phil losing the sponsor’s product flying with veteran fighter pilot Bryan Cox, plus surfing down sand dunes on snowboards. Keoghan later took the Keoghan’s Heroes concept to Canada and the United States (including a slot on CBS news).
This 1952 tourism film promoted New Zealand as a destination to Australians. In the 1950s the Kiwi tourist industry lacked accommodation and investment. But new opportunities were offered by international air travel — like the Melbourne to Christchurch route shown here, flown by TEAL (which later became Air New Zealand). Produced by the National Film Unit, this promo touts the South Island as an antidote to crowded city life in Melbourne and Sydney. Road trips offer glaciers, lakes, snow sports, motoring, angling, racing, and scenic delight aplenty.
In this documentary, Kiwi icon Lynn of Tawa (Ginette McDonald) — she of mangled vowel fame — goes on the prowl in search of the ultimate Kiwi bloke. The girl from the suburbs explores the gamut of masculine mythology, from Man Alone to mateship, and asks "can a woman ever be a mate?". Made when the good keen man was facing up to the challenge from SNAGs, the documentary travels from the West Coast (for sex education) to a men's club, from rugby scrums to rabbit culls, and meets hunters, lawyers and gay ten-pin bowlers. The opening credits mispell Lynn as Lyn.
This feelgood classic was written in Wanaka on the first Blerta tour, for the group's kids' shows. The hope was that a children’s show would win over local audiences when Blerta's busload of merry pranksters rolled into a new town. The song's concept was inspired by a Margaret Mahy story, reshaped by Geoff Murphy. Corben Simpson composed the music, and actor Bill Stalker narrates. It became a top 20 single, but a video was never made. This clip — combining new scenes, and old footage of the Blerta bus and varied escapades — was created for 'best of' film Blerta Revisited.