Whina (112 mins) in cinemas now Directed by James Napier Robertson and Paula Whetu Jones
Born with chiefly qualities and status, Dame Whina Cooper (1895–1994) was destined for a life full of surprises, good ones and heart-wrenching ones, and surprises she herself sprang on people.
Good direction by Paula Whetu Jones(Waru, 2017) and James Napier Robertson (The Dark Horse, 2014) bring these to the forefront in Whina, propelling the story along, taking viewers for a fascinating and emotional ride.
The statue in Punguru on the Hokianga, based on the Māori Land March photograph of Dame Whina walking hand-in-hand with her mokopuna Irenee Cooper, goes some way towards capturing what Dame Whina stood for. This film does the rest. It's powerful, memorable, and important viewing for anyone, anywhere.
Mainly in Māori with subtitles, the title role is played by three actors, Tioreore Ngatai-Melbourne as teenage Whina, Rena Owen as whaea Whina and, outstandingly, Miriama McDowell as in-between Whina. Their depictions of wāhine build on those in Waru and are a big step forward since Cousins (Ainsley Gardiner, 2021).
Writer James Lucas (Academy Award, 2013) joined the writing/directing team of James Napier Robertson and Paula Whetu Jones, contributing to a very fine script. The cinematography by Leon Narbey (Whale Rider) is remarkable.
Dame Whina achieved her goals without violence, by surrounding herself with people she could trust, including her mentor husband William Cooper (Vinnie Bennett) and her nephew, Māori Batallion soldier Gabriel (James Rolleston). She had no hesitation in confronting those who tried to undermine or discount her, including misguided Catholic priest Father Mulder (Erroll Shand).
Her mission was to awaken the conscience of Aotearoa, to ensure that no more land would be taken from Māori. As well as having politics at its heart, the film provides a deeply personal insight into a courageous woman's life.
The early deaths of both her husbands, both probably preventable today, are moving at one level. At another, there are Dame Whina's tireless, heroic and often lonely efforts to wake people up.
Co-director Paula Whetu Jones with Dame Whina's granddaughter Irenee Cooper at the Whina movie premiere in Kerikeri. Photo / Peter de Graaf
Skilful editing by John Gilbert (Lord of the Rings) and Chris Plummer (Boy, In My Father's Den) makes the shifts back and forward in time seem effortless, the ageing of the main character believable and the inclusion of just a small amount of archival footage is clever. Māori carvings, concepts and customs are all there, but nothing is laboured or preachy.
Work for Dame Whina started, and finished, when she eventually moved back to Te Rarawa land, among the crops. At 70-plus, she envisaged and led the 5000-strong Māori Land March from Northland to Wellington to present a Memorial of Right petition to the government in 1975. She knew about creating groundswells, having built up, and given focus to, the Māori Women's Welfare League and knew that evidence, petitions and data would open the hearts and minds.
Hats off to the team who have brought Whina to the screen. Through her story, they too will open hearts and minds. Must see.
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