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Ngati (1987)
6 out of 7 people found the following comment useful :-
Why can't we make more films like this?, 30 August 2000
Author: dracula's daughter from Auckland, Aotearoa-New Zealand
Barry Barclay, director of the thought-provoking 'The Feathers of Peace' (2000), really struck a winning formula with his earlier 'Ngati'. Set in 1948 in the small town of Kapua on the East Coast, the plot consists of three strands - the planned closure of the freezing works that provides the town with its main source of income; the visit of a young Australian doctor whose father was once the GP for Kapua and who left many years ago following the death of his wife; and the worsening condition of a sick boy whose illness refuses to be treated by both Maori and Pakeha remedies.
Even though most New Zealand films tend to follow a non-classical, sometimes episodic narrative structure, 'Ngati' proves to be a very tightly plotted and satisfying picture, combining its many elements and culminating in the hui with the representatives of the owners of the freezing works.
Wi Kuki Kaa's portrayal of Iwi, with his silent, brooding leadership, is highly commendable, and the two boys who played Tione and Ropata (Michael Tibble and Oliver Jones respectively) displayed acting talent well beyond their years. The music (by the one and only Dalvanius!) helped illustrate an enormously strong sense of community, and I liked the way the revelation about the death of Greg's mother turned his whole attitude around. (And the jokes made at the expense of Australians are good for a laugh.)
After seeing a number of disappointing locally-made films, 'Ngati' restored my faith in the Kiwi film industry. Definitely one to add to my collection.
Groundbreaking, 21 July 2006
Author: mdbrown-3 from Wellington, New Zealand
I just saw this film again a few nights ago and was even more impressed than with my first viewing. Director Barry Barclay personally introduced the film and pointed out that it was the first 'First Nations' feature ever released - that is, a feature film substantially created by an indigenous people.
That said, many 'pakeha' (New Zealanders of European descent) contributed the the process, including producer John O'Shea and many cast and crew members. However, it is very much a 'Maori film', magically evoking a kind of small, rural community where most people are related or else connected through ties of long association.
'Ngati' specifically captures the rhythms and speech of a world which is partly-traditional and partly-modern. One effective means of conveying this atmosphere is how the film depicts music threaded through many aspects of life - a healing ceremony, a night-out at the pub, a community dance, a funeral - taking on both traditional and modern colourings. Music binds the community together. The song 'Uia Mai Koia' is sung many times, but you can also hear snatches of 'Blue Smoke' and 'Maori Battalion Marching Song', and several traditional chants.
I must agree however with another posting here that some of the acting lets the film down a bit. There's a woodenness to some of the supporting roles and yet thankfully, it errs on the understated side and is never distorted or hammy. The same posting is rather harsh on the film's ultimate importance and I must disagree. This is really a gem of a film - the photography, landscapes, subtle writing, art direction, and faces of the people all create a convincing historical imagining.
But it is also more than a period-piece. Made in the mid-1980s, when Maori were asking forcibly for a greater role in NZ society, the film makes a sincere statement for a reclamation of 'mana' and economic control. In retrospect, Barclay's film is one of the most humane and subtle expressions of Maori aspiration. The political subtexts of the story are complex and never descend into simple polemic.
Directorial vision sunk by lack of acting, 5 April 2005
Author: cthopkins from Dunedin, NZ
Why can't we make more movies like this? Because this movie really isn't very good. Good directorial vision is ultimately sunk by acting that is more amateur and unbelievable than a grade school play. While there are talented actors in this movie, the surrounding cast alternates between barely adequate and unable to hold up the minimum requirement of allowing the audience to maintain a reasonable suspension of disbelief. The painfully forced acting of several key characters (Sally and several of the other Maori women) jerks the viewer out of the movie. The only reason this movie should be considered is for the commendable job it did in involving Maori in the process of film-making. Unfortunately, most of the actors never worked in film again, but from a historical perspective, this movie was a turning point. Alas, the movie itself is nothing special, and hardly worth watching. It is better studied from afar.
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