This NFU documentary showcases the hydroelectric power-generating might of the Waikato River. The ‘man harnesses nature’ narrative — shown via concrete, steel and earthmoving for dam building — highlights the path of the power: to drive farms, factories and Wellington’s electric trains. Director Cecil Holmes later wrote that post-war NZ was "a desperately poor country"; the film aimed to highlight Government efforts to overcome power shortages. After the 'satchel snatch' smear campaign of 1948, Holmes left for a highly regarded screen career in Australia.
Manapōuri hydroelectric power station is New Zealand’s largest. This 1970 NFU film — made for the Electricity Department — follows workers clearing a path for power through epic Fiordland mountains and rainforest, building roads and power pylons, and stringing a cable along the “hard and dirty” 30 miles to the aluminium smelter at Bluff. Sixteen men were killed constructing ‘the line’ before power was first generated in 1969. At the same time the scheme generated mass protests (the ‘Save Manapōuri’ campaign) at the proposal to raise Lake Manapōuri's level.
The bid to raise the level of Fiordland’s Lake Manapōuri (to provide hydro-electricity for an aluminum smelter) resulted in controversy between 1959 and 1972. This film charts a (still-timely) debate as arguments for industrial growth and cheap energy vie with views advocating for ecological values. New Zealand’s first large-scale environmental campaign ensued, and its “damn the dam” victory was a spur for the modern conservation movement — drawing an unprecedented petition, Forest and Bird, and figures like farmer Ron McLean and botanist Alan Mark into the fray.
People of the Waikato makes frequent pitstops along the 425 km path of NZ's longest river. Made in an era of post-war electricity shortages, the film balances requisite beautiful scenery with excursions into the Waikato's extensive hydroelectric system: including then-unfinished fourth dam Whakamaru, whose development was slowed by the discovery of clay in the foundation rock. Alongside brief glimpses of those who live and work on the river, there is footage of stunt-filled canoe races, Turangawaewae Marae, and a veteran boatman tugging coal.
This consolidating episode of the archive-based New Zealand history series finds World War II at an end, the return of Kiwi servicemen and the country in an optimistic mood. That's sealed by the 1950 British Empire Games where New Zealand is third on the medal table. But rising prices and low incomes lead to more militant unionism, culminating in the fractious waterfront workers dispute of 1951. At the same time there's a new flowering of the arts. The New Zealand Symphony Orchestra is established and a new generation of writers and artists take centre stage.
This third episode in presenter Peter Hayden’s journey across latitude 45 depicts the “new gold” of the booming tourist trade. On the Clutha River, archaeologists race ahead of the construction of a dam, digging for a soon-to-be-submerged mining past. The road to Skippers Canyon induces vertigo. Hayden rafts through the Oxenbridge brothers’ tunnelling feat, a failed project aimed at diverting the Shotover River in the hope of finding gold on the exposed bed. Alan Brady is filmed in his newly-established winery, the first in a region now famed for its wine.
This National Film Unit dramatised doco was boosterism for postwar immigration to New Zealand. Three Brits (Margaret, Cassie, Harry) travel and settle down under and the film records their hopes, jobs (nurse, factory worker, engineer), challenges (accents, 'casual' work ethic, locals wary of the ‘Poms’) and adventures in the new country (tramping, skiing, milk bars, the races, romance). Partaking in a glacier rescue raises Harry's spirits and assimilates him with the blokes. The film was released theatrically in the UK, and was scored by Douglas Lilburn.