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mdbrown-3
Reviews
Shadows (1975)
Another episode
Like some others here I have only vague memories of this series, but remember being freaked out by it at around the age of ten. There seem to have been quite a few series in the 1970s that tapped a vein of supernatural terror, often with Celtic overtones or suggestions of folkloric nastiness. Another I remember vividly was 'Children of the Stones'.
The episode of "Shadows" I recall featured some people who were trapped in the bottom story of a country house or possibly a windmill converted into a house. They were being threatened by the trees outside - branches were bursting through the windows and poking around to get at them.
Would be interesting to see again, but don't know if it'd stand up now - such shows seem more intense when you're younger and less cheesy.
Sally in Our Alley (1931)
Underrated
Nicely crafted little drama set on the back streets of London's East End (?). Might look like a safe harmless comedy, but it boasts an authentic atmosphere, tight story and some great performances, especially from Fields and Desmond.
A couple of points to add to Mozjoukine's excellent summary (above). Firstly, the use of music hall song and routine. According to film scholar Stephen Shafer, this was a common feature of 1930s British films and is now hardly noticed or valued. But it is not hard to see why Fields became a global star with her singing and persona, very much grounded in music hall tradition. Second, Florrie's adoration of Hollywood stars in movie magazines is surely a comment on the pure escapism of this brand of cinema - to which 'Sally in Our Alley' presented a refreshing alternative.
Ngati (1987)
Groundbreaking
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 colorings. Music binds the community together. The song 'Paikea' 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.