New Zealand’s economy is in serious trouble in the first episode of this award-winning drama series about The Great Depression. An ailing Prime Minister and a weak government seem powerless in the face of a downward spiral caused by rising unemployment and falling export prices. Meanwhile, the plight of a boot maker seeking work while people are being laid off all around him, and a jeweller struggling to keep his business afloat and food on his family’s table bring home the human cost and social divisiveness being caused by the worsening crisis.
Jack Winter's Dream is an unusual entry in the library of government filmmakers the National Film Unit: a poetic account of drink-fuelled males telling tales, adapted from a radio play by James K Baxter. Built around themes of age, death and love, the hour-long film starts with an old swagman bedding down in the ruins of an Otago pub. Time drifts: back to the night a newly rich goldminer found himself swapping memories and reveries — some of which unfurl on screen — with three drinkers and the barman (Bernard Kearns). But which one of them is planning murder?
The Great Depression — the biggest social upheaval ever faced by New Zealand — is the subject of this very well-received three part NZBC drama series. Based on an award-winning script by Michael Noonan, The Longest Winter focuses on the experiences of politicians, the middle class family of a jewellery shop owner, a boot maker and an unemployed workers’ group. It examines the inter-related forces that combined in the early 30s to plunge New Zealand into some of its darkest days — and left the nation and many of its citizens scarred for decades after.
This jaunty early National Film Unit film promotes the alpine scenery of Aoraki/Mt Cook National Park and its recreational opportunities. It includes slalom at the 1946 New Zealand ski champs, ice-skating at Lake Tekapo, comic pratfalls in the snow, a mass snow-fight and ... landscape painting. Dancing at the Hermitage Hotel is "a good way to loosen the muscles after skiing". As well as human interest, the film features the expected majestic mountains, glaciers, and avalanches, as well as curious kea at Ball Hut, and amusing dogs in snow-glasses.
The son of a Canterbury mayor and lay preacher, Winter Hall turned his early love of acting into a long and steady Hollywood career. He used friendships forged in Australasian dramatic companies to gain entrée into the silent film world, and became a valuable, “poised and distinguished” supporting actor in over 100 films, including 1925 silent epic Ben-Hur. His career continued unabated through the introduction of the ‘talkies’. Image credit: Alexander Turnbull Library, B-158-009 (detail)
Conservation pioneer Richard Henry tried to save the kākāpō from rats and stoats, via an island sanctuary in 1890s Fiordland. His doomed bird rescue efforts might seem an odd subject for a pop ballad. Singer/songwriter Andrew Fagan also included a paean to Antarctic explorer Ernest Shackleton on 1985 Mockers album Culprit and the King. Fagan argues that adventuring is "naturally something to aspire to. Writing pop songs about it never felt like an issue to me." This performance of the song, directed in a single shot by Brent Hansen, roams a gloomy Avalon studio.
Arriving in the first decade of Kiwi hip hop, this track edged into the top 20 of the Kiwi singles chart. The performance-based video was shot on the streets of South Auckland, in a mix of both black and white and colour. Lost Souls was made up of two Samoans, a Niuean, a Tongan and a Cook Islander. Two years after recording this tale of post-migration PI life in Aotearoa, Lost Tribe rapper Brotha D (Danny Leaosavai'i) co-founded legendary hip hop label Dawn Raid, with Andy Murnane.
Rip it Up editor and hip hop supremo, Philip Bell (DJ Sir-Vere) drops his Top 10 selection of Aotearoa hip hop music videos. The clips mark the evolution of an indigenous style, from the politically conscious (Dam Native, King Kapisi) to the internationalists (Scribe, Savage). It includes iconic, award-winning efforts from directors Chris Graham, Jonathan King, and more.
This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
This collection celebrates the legendary moments that New Zealanders — huddled around the telly — gawked at, chortled with, and choked on our Choysa over as they played out on our screens. "There's a generation who remember where they were when JFK was shot", but as Paul Casserly asks in his collection primer, "where were you when Thingee's eye popped out?"