Mark II

A fast-moving, beautifully observed film about three streetwise Maori youths who go adventuring in a two-tone Mark II Zephyr

Mark II, New Zealand, 1987

Television New Zealand
Director: John Anderson
Producer: Dan McKirdy
Written by: Mike Walker, Mitchell Manuel
Editor: Paul Sutorius
Director of photography: Peter Hudson (Rocky)
Sound: Gavin Wilsher
First assistant director: Gary Ryan
2nd assistant: Joe Nolan
Location manager: Peter Smith
Grip: Harry Slowey
Sound assist: Joe Von Dinklage
Production manager: Jill Wilson
Continuity: Fiona Buchanan
Wardrobe: Joan Grimmond

With: Nicholas Roger (Eddie), Mitchell Manuel (Kingi), Junior Amiga (Matthew), Joanna Briant (Judy), Jim Moriarty (Rangi), Jeff Boyd (Chris), Rongo Do Kahu (Uncle), Riwia Brown (Mary), Maria Rogers (Eddie’s mother), Tama Poata (Eddie’s father)

DV, Exempt, 72 minutes

Gofta Awards 1987: Best single television drama; Best male actor in a television drama (Mitch Manuel)

A road movie about three unemployed Mäori teenagers who go adventuring in a two tone Mark II Zephyr.

New Zealand’s first telefeature, Mark II screened on TV2 Wednesday 5 November 1986. It was heralded for its portrayal of young Polynesians and was seen as a signal by TVNZ as a commitment to more Polynesian broadcasting.

“A fast-moving, beautifully observed film about three streetwise Maori youths who go adventuring in a two-tone Mark II Zephyr. Although the episodic narrative is a little simplistic at times, there are some delightful moments (Junior Amiga breakdancing in front of a window full of showroom dummies) and highly dramatic ones (the intense scene between Nicholas Rogers and Jim Moriarty toward the end of the film has the raw emotional power I’ve not seen in a New Zealand film since Smash Palace. Written by Mike Walker and Mitchell Manuel (the team responsible for Kingi’s Story and Kingpin), the film also features Do Kahu (of TV’s Open House), Tama Poata and Joanna Briant as Judy. Film editor Paul Sutorius deserves special credit. Directed by John Anderson, Mark II is Television New Zealand’s first TV movie. Don’t miss it.” — Douglas Jenkin, NZ Listener, 1/11/86

“It did not have a happy ending but there was much to be joyous about in Mark II… The particular joy came from beholding a joyride by three young vagabonds which had a true feel of today’s times and places and people, a highway excursion which, at long last, did not cart us over those far too familiar Los Angeles freeways. Undoubtedly a lot that Eddie, Matthew and Kingi said and did last night would win no approval from older watchers, more particularly ones white and well off. But much of what the trio did could be understood – if you had eyes and ears to see and to hear, and also a heart to feel. Most definitely those of the same ages and backgrounds as the motorised wanderers would know what the three were about and why. Mark II began simply enough, deceptively so, as just a jaunt, by a carefree three, except Kingi who had some excuse for occasionally looking over his shoulder. But as they headed south, frolicking, skylarking and skinny-dipping, subtle messages came through. Amid their carousing, there was caring; in the intolerances, prejudices and jealousies they encountered, a plea for tolerance, a call for understanding, cries for help. Sometimes answers came, awkward ones. And Eddie and Kingi did all they could for each other without managing to sort it all out. Maunel’s Kingi was the scene-stealer whenever on camera, a hawk-eyed fugitive running from a nasty bunch of heavies; brave, if bitter, at heart. Manuel had a presence that made Mark II much more than just a caper. And there was much warmth in Rogers’ portrayal of Eddie, the thinker, the conscience of the trio. Amiga’s liveliness belied a sadness that made his solo breakdance in a deserted shopping centre a very moving spectacle… Fine filming and editing saw that this modern odyssey never faltered. The writers, Mike Walker and Mitch Manuel, can take real pride in that their creations loved, squabbled, rejoiced, panicked, strayed and erred, resisted and forgave, as young people do. To director John Anderson go the laurels for getting it all to work… Mark II is a testament to his belief that the best television drama in New Zealand will only come from our roots, not from transplants from American, Britain or Australia… It deserved a far better night than Guy Fawkes for its premiere and a better slot than having to compete with Auf Wiedersehen, Pet. But then, as Mark II showed, life is never fair.” — Barry Shaw, New Zealand Herald, 6/11/1986

“A young Maori chucks in his job in the hostile city, jumps in a choice mark II Zephyr with his mates, and hits the road. Along the way their car breaks down, they get chased by drug pushers, fall in and out of love and end up in trouble with the law. Mike Walker’s telemovie is no Polynesian Goodbye Pork Pie. Pork Pie was a fantasy trip. This is the rollicking real thing. Like the heroes in the 70s cult film Easy Rider, the Polynesian youths never quite seem to find the everlasting thrills they hope will be somewhere along the road. There is plenty of action in a fast paced and generally top class piece of local drama, though sadly the humour which bubbles through initially drains away. Junior Amiga, Mitchell Manuel and Nicholas Rogers give strong portrayals of the wandering trio, capturing the spirit of young Polynesians drifting aimlessly. Manuel stood out as the tough Kingi and scenes with him and Rogers, who played the sensitive Eddie Aranui, crackle with energy. But for all their fine natural acting skills, Mark II, like the comedy of Billy T James, could be rightly accused of portraying only negative images of Polynesians. It falls into the danger of showing Polynesians as street kid types with no aim in life but to go walkabout and sneer at unfriendly cops. The pace slows towards the end as Mark II drops a few messages. Kingi gruffly tells a street kid not to sniff glue. And Eddie is chided for his, ‘not bad for a dumb Maori,’ remark. With TVNZ committed to more Polynesian broadcasting, Mark II shows the heights that can [be] reached with the right scripts, actors and resources. Where I was watching, young teenagers were too absorbed in Mark II to go out to light their fireworks [Mark II screened on TV2 on 5 November 1986]. For them all the sparks were on TV.” — John Paga, Auckland Star, 6/11/1986

“Mark II was a welcome addition to our diet of largely monocultural television. If this, TVNZ’s first telefeature, is an indication of what is to come then we should be encouraged. Mark II had many of the production values of Roger Donaldson’s Smash Palace – good camera work, energetic music and simple, powerful conflict. Billed as a Polynesian Pork Pie, it was in many respects your regular road movie – sumptuous scenery, the obligatory criminal complication and concentration on the body beautiful – the car I mean. But its greatest asset were the believable Maori characters caught up in the story: these kept the dramatic story line strong. We see such characters too rarely on screen. The last time was in Open House, last week in an episode penned by Rowley Habib. He was invited to write Ahi Kaa Roa after criticising the series for not showing Maori people honestly. The result – one of the finest programmes on television this year. It’s this honesty that was Mark II’s major asset. Co-written by Rarotongan Mitchell Manuel and Mike Walker (who also collaborated on Kingi’s Story and Kingpin) it was full of wry humour, acute observation and snappy dialogue. Even a flat tyre on the desert road managed to reflect the way things often work in Aotearoa. No one would stop for a Maori youth flagging for assistance. Then the Mongrel Mob arrived – would they aid or attack? They proved to be the good Samaritans. It was in way like this that Mark II cast its net widely, taking in the way things happen and showing us if we care to notice. Acting was uniformally good, specially the three leads. And the final scenes were moving as Eddie is asked by Rangi which way he should let his anger take him. A pertinent question. Instead of allowing racism to be the victor, Mark II was suggesting that cultural pride be a motivating force. In this way it was extremely positive television: uncompromising, entertaining but most of all real.” — Victor van Wetering, The Evening Post, 6/11/1986

Sreenings: Mark II screened on 28 November 2007 as part of the season Hitting the Road