Utu Redux

UTU Redux cropped

Director Geoff Murphy

Producer Don Blakeney, David Carson-Parker, Kerry Robins and Redux Producer & Photography: Graeme Cowley

Editor Michael Horton

Screenplay Keith Aberdein, Geoff Murphy

Sound Music: John Charles

With Anzac Wallace (Te Wheke), Bruno Lawrence (Williamson), Tim Elliott (Colonel Elliot), Kelly Johnson (Lieutenant Scott), Wi Kuki Kaa (Wiremu), Tania Bristowe (Kura), Ilona Rodgers (Emily Williamson), Merata Mita (Matu)

A restored and re-edited version of Geoff Murphy’s classic film "Utu." Subverting the traditional Western genre, with a fictional story based during the Land Wars and featuring characters mixed from nineteenth-century Māori leaders, the film was another box office and critical success. It was the first New Zealand film to be invited to the Cannes Film Festival. After digital restoration by Park Road Post in 2013 it looks better than ever.

"The glorious peak achievement of the new feature film culture that burgeoned here in the 70s, Geoff Murphy’s 1983 'Utu' is unveiled afresh in its ravishing, pictorial splendour. Here it is, our own turbulent history transcribed with cinematic élan – and an elegiac, absurdist vision of the devil’s mischief in paradise... 'Utu' traces the interwoven trajectories of several vividly etched characters caught up in the wake of the vengeful Te Wheke, whose people have been massacred in a British military blunder. Thirty years ago we thought such a copious panorama of the Land Wars might be where our movies were headed. Now that we have a feature film industry, 'Utu' looks like a miracle." –NZ International Film Festival, 2013

"'Utu' is undoubtedly the work of a filmmaker who cares passionately, both about the process of filmmaking and about the subject being treated. Bruno Lawrence... as an extraordinary and extremely disconcerting presence as Williamson, while Anzac Wallace, a former trades union activist making his acting début, is magnificent as Te Wheke... the anger and energy of 'Utu,' the scope of the big action scenes and the consistent excellence of Graeme Cowley’s cinematography, make the film, for all its occasional lapses and uncertainties of tone, one of great interest and not a little power." – Nick Roddick, "Monthly Film Bulletin," vol.52, February 1985