Copyright Statement - ResearchSpace@Auckland

309
“bedroom scene”. In today’s context it seems absurd for an actress to balk at a scene
that merely required her to lie in a bed, completely covered by bedclothes, and speak
a few lines of dialogue. However, in the early 1960s pre-marital sex, even though
widely practised, was still regarded as a shameful activity. Te Kanawa, having had a
strong Catholic upbringing, and hoping to make a name for herself as an opera singer,
had no wish to be tarnished with a sexy image. Since O’Shea could not afford to
replace her, he had to make a major compromise. In a script revision, written at the
time, he notes that “Our intention is to delete the idea that David has a love affair with
Isobel – rather that they become friendly and that he would perhaps fall in love with
her if she had not been going to marry Tana.” 3 Both of the problems involved here –
sexual reticence, and limited casting options – were characteristic of the period when
the film was made.
A third short “Isobel” scene omitted from the film is her speech to David, “If we had
to come back and live again as something else, I’d like to come back as a hedgehog
… When they’re frightened of getting hurt, they just pull their heads in, and roll up
into a prickly little ball … I wish I could do that”. The later scene when David is in
the car with hard headed businessman Tom Morton would have had more impact if
the “hedgehog” conversation had been retained. When Morton drives past a young
Maori hitchhiker, David angrily tells him “You’ve got room!” Immediately following
this incident Morton, spotting a hedgehog, deliberately swerves and splatters the little
creature on the road. The juxtaposition of the young Maori and the hedgehog would
have triggered thoughts of Isobel resulting in David’s angry demand to stop the car.
This motivation is lost in the completed film.
In the original script Isobel is a constant presence in David’s mind, even when his
relationship with Celia is developing. In a scene at the motel where he and Celia are
about to spend the night, he sees her returning with supplies from the local shop and is
reminded of Isobel. This scene was also omitted, further weakening Isobel’s
importance.
The scene of David’s discussion with the young Polynesian in the railway carriage,
confronting him with the economic realities of life for Pacific Islanders, was never
filmed. Had it been shortened, it could have added a further insight into his thinking,