Displaying items by tag: Temuera Morrison

MOANA 2

US, 2024, 100 minutes, Colour.

Voices of: Auli'i Cravalho, Dwayne Johnson,  Chung, Rose Matafeo, David Fane, Awhimao Fraser, Temuera Morrison, Rachel House, Alan Tudyk.

Directed  by David G. Derrick Jr, Jason Hand, Dana Ledoux Miller.

It is a surprise to find that the first Moana film was released in 2016, 8 years ago. There had been an intention to do a sequel as a television series in 2020 but that did not happen. Instead, here we are in 2024, meeting the characters again, travelling back thousands of years, to the islands of the Pacific, to the Polynesian inhabitants so long ago.

But audiences who were enthusiastic about the first film, and they certainly were, now have an opportunity to meet the characters again, the intrepid Moana (Auli'i Cravalho playing Moana again), the companion pig and chicken (although this reviewer had very low tolerance for the chicken as a character, rather annoying, caught in all kinds of silly situations – but that is a comment from an older viewer, while the youngsters will probably want more!).

In many ways, this is a repetition in story of the first film. We see Moana’s community, the chief her father, her great reputation she had achieved as a sailor and “Wayfinder”. But, the community is isolated, not sure where there are more people, more islands in the ocean. As in the first film, there is the heroic Maui (voiced by Dwayne Johnson) who has been a live for thousands of years, his body covered in tatters which come alive to tell the story of his adventures. He comes to join Moana and another group of sailors, a young man who idolises Maui and very feisty young woman and old grandfather, cantankerous, and the pig and the chicken!

So, lots of sea adventures. A visit to an island of coconuts who have a life and language of their own, seem hostile but are friendly, contribute to the expedition across the seas. There are all kinds of creatures in the sea, even waves of the ocean coming alive, and, as the crisis mounts, vengeful deities, a strange malevolent queen who has the power to destroy the wayfarers, and ever-increasing storms which take their toll on the expedition.

But, in the spirit of the traditions of the Polynesians, their seafaring, their settling of the islands around the Pacific, there is the revelation that they are not isolated, that there is great joy in finding other communities and uniting with them. (And, the alert audiences will hear many New Zealand accents, Rachel House, Temuera Morrison, Jemaine Clement, who appears in the mid-final credits sequence, jokey, but those who instantly make a beeline for the exit as words appear on the screen at the end, will miss it.)

So, a variation on the Disney princess, the Polynesian Princess, Moana, colourful action, intriguing characters, the importance of storytelling, images, not only in caves but on the tattoos of the characters, bringing those stories to life. And, this time there are some jolly songs, pleasant interludes, tunes and lyrics that are easily accessible, especially to the younger audience. And, indeed, Moana is a film for the younger audience, very strong, of course, for the young girls who will enjoy it.

1. The popularity of the original film? Television series not eventuating? The happy reception of this sequel?
2. Disney style, the animation, the drawing of the characters, their interactions, humans, animals, fantasy creatures, locations, the sea, islands, the coconuts…? The musical score, the role of the songs, the chirpy lyrics, the tunes?
3. Intended audience, the youngsters, younger girls, the adventure tale of a Princess who is not actually a Princess?
4. The establishing of Moana as character, her quest in the first film, the Wayfinder, her achievement, the relationship with Maui, with her family? Wanting communication with others in the ocean? The initial venture, the storm, her achievement, return home? The reception, the celebrations on the island, her father, mother, the family?
5. The introduction of the familiar characters, Maui, the demigod, collaboration previously with his return, the interactions, the banter, travelling with her again?
6. The pig, friendly, cuddly? The chicken, fiascoes, comic, irritating?
7. The new quest, her companions on the journey, Lote as a vigorous young female, Moni, young, enthusiastic, his admiration for Maui? Kele, the cantankerous father? Leave, help, collaboration marijuana
8. The visualising of the voyage, the sea, the waves, the oceans, the arrival at the coconuts island, the interactions, the help, the coconut guiding them? Maui and his advice, interactions with minor?
9. The vast island, the split, separated, the adventures, the dangers, surviving?
10. The quest to confront the angry God, to discover more humans?
11. Matangi, under the spell of the God, her life, machinations, her song, decision to help, confronting the God?
12. The achievement, the discoveries, the return home, the welcome? Moana as a true Wayfinder?

KA WHAWHAI TONU - STRUGGLE WITHOUT END

New Zealand, 2024, 115 minutes, Colour.

Temuera Morrison, Paku Fernandez, Hinerangi Harawira-Nicholas, Jason Flemyng, Ariana Smith, Te Wakaunua Te Kurapa, Cliff Curtis, Jack Barry.

Directed by Mike Jonathan.

The middle of 2024 was a significant time for the release of significant New Zealand films, significant films with Maori themes. Firstly, Lee Tamahori completed his trilogy which began with Once Were Warriors in 1994, and his going back to the 1930s, the tribal warfare, the establishment of colonial towns, conflicts, The Convert. Soon after came the contemporary story The Mountain, directed by Rachel House, symbol of Mount Taranaki and three 11-year-olds wanting to climb it, opening up themes of Maori lore. And now this film with its Maori title, boldly asserting Maori language and presence, and an English subtitle, Struggle Without End.

The action of this film moves thirty years on from the 1830s of The Convert. This is a time of rebellion, a gathering of tribes, a rebellion, the taking of a stand at a fort, the attack of the British colonial soldiers, the onslaught, a subjugation.

Again, as with The Convert, the cinematography of the New Zealand landscapes is beautiful and significant. As is the musical score.

The context of the narrative is the gathering of the tribal leaders, discussions about war, possibilities for peace, the significant leader, Rewi (played by Temuera Morrison 30 years after his significant role in Once Were Warriors) is fierce, traditional beliefs, but acceptance of Christian faith (and a cameo from Cliff Curtis as a priest, Curtis also being a star of Once Were Warriors), wanting the possibilities for peace. However, there are other fierce Warriors who want action, bloodshed.

This is the framework for a central narrative which focuses on a teenage lad, Jack (an effective performance from Paku Fernandez), Maori mother, White soldier father (Jason Flemyng) who is captured, bound and gagged, telling a story of simply wanting to visit his grandmother. Also in the camp is a young woman who is considered to have special powers, contact with the gods, visions. She is Kapu, manipulated by her ambitious mother, set in a kind of shrine, special garb and head coverings, having some mystical experiences and visions, but also young and lonely.

Most of the language of the film is Maori but, just as we might be thinking of Romeo and Juliet, a moment of English-language actually refers to “star-crossed lovers”. So, with the expected sequences, brutal as they are, of the British soldiers’ advance, of the fort defence, of massacre, there is also the story of Jack, at first skilfully helping with making the bullets, but then an escape with some of the younger people from the Fort.

But, there are moral dilemmas for Jack, rejoining his military father, memories of his own service and some of the brutality he had to participate in, at a crossroads in his life, the impact of his British military upbringing, his love for his mother and sadness at her death, and an option for following his Maori heritage.

In many ways, the colonial-Maori clash is as expected, but is enhanced by the personal, young story at its core. And, at the end, there is information about the decline in the Maori population during the 19^th century, but also about the changes and developments in place for Maori peoples at the end of the century into the present.

1. The title, the Maori language, Maori-assertion, history? For the Maori audience, for the wide New Zealand audience, beyond New Zealand?
2. Audience knowledge of colonisation in the 19^th century? The British, the towns, the impact on the Maori peoples, tribal warfare, Treaty of Waitangi, the uprisings and rebellions, the massacres, the 19^th century history, the beginning of the increase of the Maori population, rights, place in New Zealand society?
3. The 1860s, Britain as a colonial power, the soldiers, the forts, weapons, rifles and muskets, uniforms, distinctive? Recruiting among the Maoris? Intermarriages and children? The film’s focus on the uprising, the oncoming British forces, the shooting and deaths? The final colonial victory? The consequences?
4. The gathering of the Maori warriors, Rewi and his leadership, status, personality, the Maori markings, his language, yet his wanting peace, the Christian traditions, his relationship with the priest, the singing of hymns? In the tradition of the gods, the regional and tribal gods, mystic communications?
5. The other warriors, their fierceness, wanting war, taking of Jack, wanting him to be a sacrifice, the fierceness of the warriors, but their possessing the weapons, readiness to fight?
6. The place of Kopu? Her age, set aside by her mother, her mother’s ambitions, as channelling the gods and power? Her adornments, alone? The trances and visions? Yet her not wanting this position, rebelling against her mother? Her mother’s aggressive power? Her mother later with the soldiers?
7. Jack, the gradual revealing of his background, his Maori mother and grandmother, his father a soldier, Jack and the army, his being captured, truth and lies, saying he was going to see his grandmother, his being bound and gagged, speaking to Kopu, engaging her sympathy, sharing his loneliness? With the warriors, those wanting him to be sacrificed, those for keeping the peace?
8. The younger members of the Maori group, boys and girls, their status? The baby? And the role of the older women?
9. Under siege, the making of the bullets, Jack and his skills, working? His attempts at escape? Being returned?
10. The advance of the British, the role of Jack’s father, seeing him in the flashbacks, in command, ruthless? The advance, shooting, the many deaths? The remnant?
11. Kopu, interactions with Jack, his offering to help her escape, with the young children, the escape, through the bush, hiding, the pursuit of the soldiers? The young boy wounded, their carrying him? The vision of the town where Jack came from? The song? The findings, all the dead? Another town, the different letter in spelling?
12. Jack, leaving the group, going back, his father finding him, his salute, his role with the Army, memories of his mother in the flashbacks, his conscience, his father commanding him, especially the people in the hunt, his setting fire, his father getting him to shoot the victim? His father’s love for him, his sternness? Jack, making decisions, the escape?
13. Jack with the horses, rejoining the young ones, the death of the boy? The arrival of Jack’s father, the confrontation? The arrival of the warrior? their fight, the sword, the cudgel, the deadly fight? The death of Jack’s father?
14. The consequences, Jack and his future, his options, with Kopu and the children?
15. The consequent information about the putting down of the Maori peoples, gradually increasing in number, during the 20^th century, to the present day?

TRACKER

New Zealand, 2010, 102 minutes, Colour.

Ray Winstone, Temuera Morrison, Gareth Reeves.

Directed by Ian Sharpe.

Tracker delivers what its title states.

This is a New Zealand film, a New Zealand story with links to South Africa and the Boer War.

The war is over and defeated Boer, property destroyed, wife and daughters disappeared, decides to migrate to New Zealand, at the same time as veterans who participated in the war are returning home. He is played by veteran British character actor, Ray Winstone.

We are also introduced to some of the New Zealand soldiers, officers who had command in South Africa, beginning the settling back home. There is an interruption to this action when the Maori veteran his court in a sexual relationship with a white woman. Anger breaks out. Racial bigotry breaks out. There are bashings, shootings – with the Maori man going on the run. His played by New Zealand International actor, Temuera Morrison, who made such an impression in the 1990s in once Were Warriors.

The officer sets up a posse to pursue the fugitive, enlisting the talent of the South African, a veteran tracker who finds the fugitive first. The core of the film is the interrelationship between the two, the tracker assuming the guilt of the fugitive, the fugitive stating his case, explaining to the Boer his experience of British colonialism in New Zealand, prejudice, against his grandfather and father, the hanging of his father. And, we the audience, know that is not guilty of the shooting for which she is pursued.

Because we know the truth of what has happened, the audience is on the fugitive side, hoping that his tracker will begin to understand – but not without fights, taunts, pleading.

This comes to a head when the group of trackers arrive, tie the fugitive up, taunt him. This leads to the tracker having to make a decision, the audience hoping that he will let the fugitive go. The narrative does not quite go in the direction the audience might have been anticipating – but is the better for that. Sad, better.

And, all the time, there is the magnificent New Zealand scenery.

1. The title? The tracker from South Africa, the New Zealand trackers, the Maori man and his being tracked?
2. The setting, after the end of the Boer War, the returning troops, New Zealand, after action and warfare, migrants coming to New Zealand with hopes? The coast, the town and the fort, the beautiful landscapes throughout the film? The musical score?
3. The refugee from the war,Boer, experience of the war, disappearance of his wife and daughters, bitterness, fighting the British? The defeat, the decision to come to New Zealand, expectations? Encounter with the military officer, talking about the war? Becoming involved in the tracking? At the end, the final discussion on the beach with the officer, asking whether he gave the order, the reassurance of the burning house was empty, the photo of the wife and daughters?
4. The officer, his status, the other soldiers, life in the town?
5. The Maori, the sexual activity, with a white woman, the reaction of the soldiers, violence, brutality, the shooting, accusing the Maori? His fleeing?
6. The Maori, the war, his experiences, racial prejudice and bigotry? His fleeing, injured, the South African tracker, finding him, the conflict, the violence, captive? Is revealing his character, his history, colonialism in New Zealand, the British, his father hanged, his pride in his traditions? The pursuit by the officer and his men? Greater understanding on the part of the tracker, the capture, his being tied up, the tracker leaving the knife, his escape? The tracker misleading the pursuers with clues? The eventual capture, the Maori and his plea not to be hanged, the tracker firing the gun, the Maori falling down the waterfall, his finger cut off as proof of death? The tracker leaving him alive? His future, the final enrolment sequence?
7. The pursuers, their stances, predators, their backgrounds, violent military, urbane officer? The issue of leaving the body not to be buried, no more wasting time? And the irony that he was alive?
8. The tracker, deciding to leave for Australia, on the beach, the officer, the issue of the finger, the discussion about the episode in the war?