Don't Let It Get You (1966)

January 29, 1966
Release Date

Don't Let It Get You (1966)

January 29, 1966
Release Date

External Links & Social Media

Plot.

“The big ALL FUN show for the whole family to enjoy!” was the tagline for this musical comedy classic. Sir Howard Morrison (as himself) and Rotorua are the stars in the tiki-flavoured tale. Moving from Sydney to a Rotorua music festival the plot centres on a romance between a young drummer (Gary Wallace) and his girl Judy (Carmen Duncan) and the hurdles they face to stay true. But this is only an excuse for a melange of madcap, pep-filled musical fun. Made by John O’Shea’s Pacific Films, it features Kiri Te Kanawa, Lew Pryme and Aussie star Norman Rowe.

Where to Watch.

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Cast & Crew.

John O'Shea

John O'Shea

Director / Editor / Producer

D. Russell Rankin

D. Russell Rankin

Associate Producer

Gwynn Owen

Gwynn Owen

Herma Keil

Herma Keil

Gerry Merito

Gerry Merito

Rim D. Paul

Rim D. Paul

Anne Sharland

Anne Sharland

Ernie Leonard

Ernie Leonard

Details.

Release Date
January 29, 1966

Status
Released

Filming Locations
Sydney, Australia

Genres

Wiki.

Don't Let It Get You is a film made in New Zealand and Sydney, Australia in 1966. It is notable for the period it was made in as well as the popular musical acts that featured in it.Sir Howard Morrison, Eddie Low, Dame Kiri Te Kanawa and Herma and Eliza Keil of the Keil Isles featured in the film. It also had an appearance by Australian hit maker Normie Rowe.Directed by John O'Shea and written by Joseph Musaphia, the film captures the exuberance and energy of one of New Zealand's finest hours in pop/rock musical history. Fashioned in the style of Richard Lester's A Hard Day's Night (1964) and Help! (1965), it is a showcase for the talents of the period, including Kiri te Kanawa ("Sing for us now, Kiri"). The songs are mostly written by Patrick Flynn in collaboration with either O'Shea or Musaphia. However, the film is also a knockabout romantic comedy: the dialogue non-sequiturs, pratfall gags and bizarre juxtapositions display an offbeat sense of irony and blase manner not unlike that of television in the late Eighties (Terry and the Gunrunners and The Billy T. James Show, for example). As a nostalgia piece, the film comes as close to capturing the hopes and aspirations of the period as the Weekly Reviews do for the Forties and the Tangata Whenua series does for the Seventies.

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