During 1994, the film-maker Lee Tamahori delivered one of the biggest first films of that era, firing on all six cylinders with his gut-wrenching social-realist drama Once Were Warriors. The Mekes are a working-class Maori household in Auckland's south: the actor is the boozing, fighting, bragging dominant benefit recipient Jake, who returns from pub visits with his pathetic sycophant mates to terrorise and abuse Beth, his spouse, portrayed by the actress, and their five children. He shows no concern to the future of his two elder sons who have drifted into gang life and illegal activities, as well as his sensitive daughter Grace, who has talent as a storyteller. One son receives tattoos; the other is taken to a juvenile reformatory where he is partly tutored in the traditions of Maori culture – the haka and the traditional weapon – and gains dignity and pride. But back at the disordered home, the daughter is assaulted by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and Beth forcefully challenges the wretched Jake: “Our ancestors once were warriors, but in contrast to you, they, they were people with mana, pride; soulful beings …”
Raw Emotion and Skilled Filmmaking
Tamahori unleashed with such intense drama, and delivered powerful blows with bar sequences, domestic moments and gang initiation rituals, handling them with assurance and energy. He created a bold, sincere picture with a distinctly 90s streak of edginess. It was a hit with audiences and reviewers, and – for good or ill – strongly influenced industry executives in Hollywood who could see how Tamahori could bring this energy and talent to commercial projects.
American Films and Varied Projects
Stateside, Tamahori made the noir thriller Mulholland Falls, about aggressive police officers who care nothing for procedure, and then the David Mamet-scripted survival thriller The Bear with the actor and Alec Baldwin as two men who trek through wild terrain after their plane crashes. (This moderate movie became a cult favorite when its producer he wrote amusingly about the turbulent production of filming with an animal actor in his witty Hollywood book What Just Happened?) Along Came a Spider was a serviceable thriller, and he had another payday filming the sequel in the XXX series XXX State of the Union.
Bond Film and Professional Changes
But the high point, or perhaps the low point, of Lee Tamahori’s American work was taking on the 007 film Die Another Day in 2002, with the star; it was the installment derided for having the poorest device in 007 history – the invisible car. Why would anyone need such a car, audiences wondered? This car that makes it difficult to remember its parking spot.
Subsequent Projects and Comeback
After this, the director discovered some more interesting form. His The Devil’s Double in 2011 featured the actor in the twin roles of the dictator's brutal offspring the character and as well as Uday’s decoy double, employed to shield the young tyrant-princeling from assassination or kidnapping: this was a forceful, engaging movie which sidestepped the usual doppelganger cliches. And in later years, Tamahori went back to the theme of indigenous traditions, directing The Convert in 2023, collaborating with Australian critic-turned-screenwriter Shane Danielsen. Tamahori was an exceptional director – but it remained his first film, the heartfelt Once Were Warriors, that was his greatest work.
