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David, having pulled Diana into the boat and given her his jersey, rows her back to
shore. In long shot she is seen bare from the waist up standing by the hut changing
into a dry garment. Broadley recalled that “her getting undressed and then dressed
again was shot twice, once in long shot with the skull and horns of a deer [in the
foreground]. This was done for the local market, but for the overseas market we did a
close-up of her so you could see breasts and nipples as she was getting undressed,
which made it go into the X-rated or R-rated category overseas, which was a better
way of guaranteeing audiences.” 25
The lakeside sequence following Diana’s fall from the boat ended up as one of the
film’s least successful. Uncertainty on Broadley’s part as to what he was trying to
convey, a bad laboratory accident that left the film short of vital footage, an assistant
producer who was uncooperative, and a rapidly disappearing budget all added
pressure. The result was that there was insufficient time for later key sequences to be
rehearsed and shot carefully. Increasingly, the priority was to get scenes in the can
before the budget was exhausted. The lakeside sequence marked the beginning of this
phase. To add to the pressure, Colin Broadley was experiencing personal financial
difficulties. In a bizarre parallel to his David Manning role, O’Shea recalled that he
was “being chased by the police at the time [as] he must have been going bankrupt in
Auckland, or something.” 26 Worried sick and under pressure, Broadley began eating
compulsively, which is why “he got so fat. He couldn’t stop eating puddings.” 27 The
increasing weight of the star provided an additional challenge for the film crew.
O’Shea recalled, “Colin had been a nice stripling at the start, but at the end I had to
dress him in huge jerseys and corduroy pants. [Furthermore] there was no shot of him
side on; it’s always back on or front on. Tony was extremely good about
photographing him to conceal his girth.” 28
Perhaps the most satisfying scene filmed at Hari Hari was the film’s opening
sequence, shot during the period when they were unable to go to the glacier because
of Colin Broadley’s twisted ankle. O’Shea was particularly pleased with this
sequence for which he gave much credit to Williams, Michael Seresin and his son
Patrick O’Shea “who made a wonderful camera crew.” 29 He described it as being “a
most ingenious and difficult [scene] for a camera crew to arrange, especially with the
limited equipment we had at that time.” 30 The scene, shot as a single take,