"The Seekers" is an unusual and interesting movie. Although there are more than a few wince-worthy moments, I feel that the good points outweigh the bad ones.Set in 1821, Philip Wayne, a sailor played by Jack Hawkins, befriends a Maori chief, Hongi Tepe when his ship stops in New Zealand. After returning to England he comes back with his wife Marion, played by Glynis Johns, to settle permanently. Other settlers arrive, but after Philip and Marion have a baby things get complicated. Philip has an affair with the chief's daughter, Moana, played by Laya Raki, and one of the settlers accidentally kills a Maori warrior sparking a climactic battle.It would be hard for a movie made in 1954 that depicts early European settlers clashing with the original inhabitants to avoid a charge of racism, no matter whether it is set in the American West, South Africa, Australia, or as in this case, New Zealand. The mid-50's was not exactly a time of deep reflection about the topic, which seemed to come more in the following decade and ever since.Possibly it's too much baggage to load onto a movie where the filmmakers didn't let historical or cultural accuracy get in the way when it came to telling a good story – especially when Laya Raki was around.Although much of it was apparently shot in New Zealand, the film is surprisingly stagey and studio bound. Jack Hawkins plays it pretty straight throughout, but it is Glynis Johns who stands out by effectively underplaying her role. Kenneth Williams appears in a pre-"Carry On" role as the settler who triggers the final confrontation with the Maori.The movie would have been pretty heavy going if it weren't for Laya Raki as Moana. Early in the movie, she performs a dance number – but not one that is likely to be included in the repertoire of traditional dances at the Maori Cultural Centre in Rotorua. Moana also takes a strong interest in Philip Wayne. Every time he goes into the bush to hunt or fish, he stumbles across her in a classic, 1950's pinup pose perched on a rock or draped across the track.Then she does that nude swim. Not something one expects in a 1954 movie. Possibly it got through the censors under the old National Geographic Magazine adage that pictures of topless woman were allowed as long as they were from indigenous cultures where lack of clothes was accepted. Although she looked exotic, Laya Raki certainly wasn't Maori – she was German – but maybe the censors didn't know that.The final battle is quite spectacular and features some original touches. For defence, the settlers dig pits and man them with a couple of muskets each – long before the WW2 foxhole. I don't think I have ever seen that in any other film set in this period.By the final reel, Philip Wayne's adulterous affair with Moana, and the battle of annihilation with the Maori, gave the film a darker tone – it is a movie that starts slowly but builds power and delivers a strong punch at the end.

This is definitely one for the Haunted Wing of IMDb! Only two comments. One, as I write this, is four years old - the other from a decade ago! So how long will it be before THIS comment is read - by ANYBODY?! Ever? Never mind, I'll carry on regardless (did you see what I did there?)Why am I chatting about this mediocre film? Well, a movie stands by how much of it you can remember years later. And I suspect I will have forgotten the latest Bond (Quantum Of Solace) by next week, yet although I saw this movie only once, MANY years ago, I STILL remember it.So does that make it a better film than Quantum? Not necessarily! For although it'll last longer in my memory than the AWFUL "2nd prequel" to the Bond Saga (with Dame Judi Dench STILL playing "M" - even though she played the part in Pierces' outings - which makes NO sense) it is FAR worse.Granted, production values have advanced a tad during the half-century twixt this rubbish and Bond 23 (or 24 or whatever) and the Bond had a somewhat bigger budget (even allowing for inflation) but this mess had two things Bond lacked.Kenneth Williams acting BUTCH - and Laya Raki's BOOBS!Somehow, the Fifties censor managed to MISS Ms Raki's over-exposure, whilst she was in that pool. It was a blink-and-you'll-miss-it moment, but when UK TV showed this turkey (as an afternoon filler) I'd TAPED it (for Kenneth Williams) and took a slow photographic exposure direct off a frozen frame from the sequence. I still have it.I'm old enough to remember the vivacious Ms Raki from a TV series called "Crane", which starred Patrick Allen (later more famous for his ad voice-overs) and I recall the screen seeming to brighten every time she appeared.Then there's a pre-stardom Kenneth Williams playing STRAIGHT. A MAJOR rarity. In his early days, he strove to be a serious actor and this execrable garbage is one of the very FEW examples of his efforts.So forget the plot, acting, production values, score, etc. Just watch it for Laya and Ken! THEY are why I gave this twaddle a FIVE!

There are some nice locations in this film that are captured in strikingly vibrant colour with effective camera movement and angles. It is, however, not a very well written film, with a dull romance, stereotype characters and some unwelcoming ideas about colonisation. The visual side of the film keeps it moderately engaging, with good costumes and sets, and a few extra sparks are added in by Kenneth Williams, in an early pre-Carry On role. It becomes sillier and lamer as the film progresses, and some of the music choices are awfully unfitting, but the film does still have a small share of virtues nevertheless.

This film, about white men colonising New Zealand in the early 1800's, starts off well as two sailors discover the Maori culture. Unfortunately once they return to colonise, things become melodramatic and silly. Hawkins is good, but the wonderful Glynis Johns is completely wasted. The most interesting casting is the young pre-Carry On Kenneth Williams playing, as butch as he can, a go-getter colonist. The ridiculous music score constantly over-powers the action, and the action scenes are poorly staged and filmed.But what is most distressing about this film is its assertion that white man and his Christianity saved the Maoris from a savage society constantly at war and brought them peace. In reality white man brought mass slaughter, disease and cultural genocide. I am amazed that as late as the 1950's such imperialist racist attitudes still prevailed.