We wrap up our discussion of Geoff Murphy's Utu this week by taking a look at the historical incidents that inspired the film, as well as exploring the production process, and breaking down the differences between the three different cuts.
In our longest episode yet, we lovingly pull apart Geoff Murphy's 1983 kiwi western Utu - discussing the film's odd tonal shifts, arguing over performances, picking apart its politics, and pondering how so many messy parts could create a cohesive whole.
Since we laid out our hopes and expectations for the Goodbye Pork Pie remake back in our episode about that film, we thought we'd quickly check in to share our thoughts on how Pork Pie turned out. Is it a satisfying update for our modern age? Spoiler alert: no.
Our look at the 1977 mini-series The Governor comes to an end as Hayden and L.J. discuss the production of the show, the budget controversy and ensuing enquiry, and what the TV landscape looked like at the time, as well as the show's lasting importance and the logistical problems preventing it from being commercially screened or released.
As preperation for our upcoming look at Utu, we ring in 2017 by dissecting the (in)famous TV mini-series The Governor. A sprawling historical drama covering over half a century, The Governor explores the life and career of Sir George Grey - twice Governor and 11th Premier of New Zealand, and arguably the most influential figure in the country's early colonial years. Split into six self-contained feature-length parts, the series explores Grey's legacy and personality by examining the impact he has on the lives of others. This week we discuss the first three episodes: 'The Reverend Traitor', 'No Way To Treat A Lady', and 'The Mutinous Lieutenant'.
For our last episode of the year, we're rounding off 1982 by taking a look at Mike Newell's disturbing Bad Blood, a dramatisation of the infamous 12-day manhunt for Koiterangi farmer Stan Graham. Socially isolated, increasingly paranoid, and in serious financial trouble, Graham and his wife Dot react aggresively when their rifle is requisitioned by local authorities for the war effort. As their behaviour begins to threaten the wider community, an attempt by police to control the situation leads to a tragic outburst of violence.
When your Dad carks it on a trip to Wellington, but your inheritance relies on him dying on the farm in Marlborough, what on earth can you do about it? That's the problem facing Grant Tilly and Kelly Johnson in John Reid's Carry Me Back, a raucous corpse-toting farce that gives Hayden and L.J. a bit more than they bargained for.
It's the apocalypse! The world has been decimated by the oil wars, leaving small settlements of survivors to fend off gangs of roaming outlaws. When Corlie (Annie McEnroe) escapes the clutches of her father, the evil Colonel Straker (James Wainwright), she is rescued by the reclusive Hunter (Michael Beck) and taken in by a small democratic commune. But Straker wants his daughter back, and he's coming for her in his Battletruck!
In an attempt to revise their opinions on director Tony Williams (Solo), Hayden and L.J. take a slight detour to look at the obscure Australian horror movie Next of Kin. The story of a young woman who takes over the running of a rural nursing home after her mother's death, Next of Kin began life as a local Kiwi production, but gradually morphed into an Aussie film for various financial reasons. Does it hold up better than Solo did?