This postwar Weekly Review joins a welfare officer from the Crippled Children’s Society on her Wellington rounds: advising parents, chaperoning children to hospitals to undergo physical and speech therapy, and overseeing the supply of specialist footwear and splints. There’s also a Kiwi take on Heidi as a boy is offered a farm holiday, walking on crutches among the cows: “No care and treatment can substitute for the uplift of two weeks in the country.” Released in September 1948, the film was made by decorated war correspondent Stan Wemyss (grandfather of Russell Crowe).
This vibrant NFU travelogue takes the pulse of NZ's capital after 125 years of Pākehā settlement and finds a "colourful, casual" city that has had to impose itself on the landscape to endure. Highlights include the 90 sec opening flyover, some off-the-wall music choices in the score and vox pops that are well shy of 'coolest little capital' chutzpah. The wind puts on a requisite show but so do the city's 32 miles of beaches, with a Riviera-esque Oriental Bay beaming on a good day. The mower on a rope trick looks dodgy to a more health and safety conscious age.
This 2013 TVNZ Heartland series saw veteran newsreaders present major moments in New Zealand history. In this episode Dougal Stevenson looks back at the Wahine disaster of 10 April 1968, when 51 people perished after the interisland ferry struck Barrett Reef near Wellington, in a southerly storm. Stevenson was a junior newsreader at the time. Along with archive footage, two eyewitnesses are interviewed: passenger William Spring, who recalls leaping from the capsized ship; and Roger Johnstone, who describes filming the disaster as a young NZBC cameraman.
This Work of Art documentary follows veteran actor and director Ian Mune as he works with NZ Drama School graduates, to write and shoot a 15 minute film in just two days. Many of the actors (who include future bro'Town voice David Fane and Saving Grace's Kirsty Hamilton) have little experience acting for the camera. Mune passes on lessons learned in a career that began long before such tuition was available locally. Shot at Wellington Railway Station, Rush Hour, the resulting film, is included in its entirety during this fascinating insight into the creative process.
This short profiles the work of Gisa Taglicht. A pioneer of women's rhythmical gymnastics, Taglicht advocated the benefits of physical exercise for women. Risqué at the time for the women’s skimpy outfits, the Wellington-set film sees women escaping machine and washing line oppression via a YWCA hilltop session: limbs reaching and stretching towards a stark sky. The National Film Unit's post-war Weekly Reviews became less overtly patriotic, and some, like this Michael Forlong-directed one, were unabashedly experimental. The score was composed by Douglas Lilburn.
“In the dark and scary depths of a subway, one young man finds fear has a new name: FIZZ.” Jemaine Clement (pre-Flight of the Conchords fame) is the young man who faces up to a sentient soda machine in this short from Jason Stutter. Made for $2000 and filmed over two wintry Wellington nights, Fizz screened at festivals including Locarno, New York, and Clermont-Ferrand. Stutter would successfully repeat the combo of dark wit and dangerous appliance in his Careful with that … series; Clement starred in Stutter’s debut feature Tongan Ninja (2002).
In this National Film Unit-produced 'documentary' a circus sets up at the beach. Made for the Ministry of Works to stir debate about the use of coastal land, director Michael Reeves' wiggy treatment of the subject situates the film in the 'frustrated auteur meets sober commission' NFU tradition. Ringmaster Ian Mune is a seaside Willy Wonka canvassing claims to the coast. Demands of development, recreation, and housing are dramatised — including a bizarre look at stranger danger in suburbia, and a graphic illustration of the risks of off-mains sewage treatment.
Here is the News surveyed Kiwi television journalism up until 1992. Presented by Richard Long, this 10 minute excerpt looks at radio and TV coverage of the Wahine disaster, where over 50 people died after the interisland ferry struck Barrett Reef, on 10 April 1968. NZ Broadcasting Corporation reporters Keith Aberdein, Fred Cockram, Nadoo Balantine-Scott and cameraman Andy Roelents are among those recalling their experience of the storm, and the challenges of covering the tragedy — and broadcasting it across New Zealand, in the days before nationwide transmission.
Beloved by 70s and 80s era Kiwi kids, Spot On mixed educational items and entertainment. For the final episode, broadcast live on Christmas Day 1988, guest host Bob Parker celebrates the show’s 15 years by tracking down almost every Spot On presenter. There are also clips of fondly remembered sketches and adventures, set to pop hits of the day. The roll call of presenters includes Phil Keoghan, Ian Taylor, Danny Watson, Erin Dunleavy, Ole Maiava, Helen McGowan and the late Marcus Turner. Spot On won Best Children’s Programme at the 1988 Listener Film and TV awards.
This NFU public safety film takes a jaunty approach to a serious subject as it shows road crossing dangers via bad examples. Mis-steps include walking off the footpath carelessly, crossing the road at oblique angles, 'dithering', and over-confidence. The humour may be physical and the narration pun-filled, but the lessons remain relevant, as pedestrian accidents on Wellington's and Auckland's 21st Century city bus lanes attest. Despite the big question promise of the title there is no Socratic dialogue about crossing the road or any consideration of chickens.