During 1994, this director Lee Tamahori delivered one of the biggest first films of that era, firing on all six cylinders with the heartbreaking socially conscious drama Once Were Warriors. The Mekes represent a working-class indigenous family in Auckland's south: the actor plays the boozing, brawling, bragging alpha-male welfare claimant Jake, who comes home from pub visits with his pathetic sycophant mates to terrorise and assault Beth, his spouse, portrayed by Rena Owen, and their five children. He is entirely indifferent to the fate of his two elder sons who have drifted into gang life and illegal activities, including his gentle daughter the girl, who has talent as a writer. One son gets tattoos; another is sent to a juvenile reformatory where he is at least tutored in the ways of indigenous heritage – the war dance and the traditional weapon – and gains dignity and pride. Meanwhile at the disordered home, the daughter is assaulted by Jake’s grotesque friend “Uncle Bully”; disaster follows, and the mother forcefully challenges the wretched Jake: “Our ancestors used to be fighters, but in contrast to you, Jake, they were people with mana, dignity; people with spirit …”
Emotional Violence and Confident Direction
Tamahori unleashed with such intense drama, and delivered powerful blows with the pub scenes, domestic moments and the gang ritual initiation scenes, directing them with assurance and energy. He created a bold, heartfelt picture with a distinctly 90s streak of brash and trash. It was a hit with audiences and reviewers, and – for good or ill – deeply impressed studio heads in the film industry who could see how Tamahori could apply this energy and flair to mainstream genre material.
American Films and Varied Projects
In America, Tamahori directed the dark mystery Mulholland Falls, about aggressive police officers who ignore protocol, and then the David Mamet-scripted survival thriller The Bear with the actor and his co-star as characters who trek through the wilderness after their plane crashes. (This film gained cult status when its producer he wrote amusingly about the chaotic circumstances of shooting with an animal actor in his witty Hollywood book What Just Happened?) Along Came a Spider was a serviceable suspense film, and he earned again filming the second in the XXX series XXX State of the Union.
Bond Film and Professional Changes
But the high point, or perhaps the nadir, of Lee Tamahori’s American work was directing the 007 film Die Another Day in 2002, with Pierce Brosnan; it was the Bond film derided for having the worst gadget in the series – a cloaked vehicle. Why would anyone need such a car, viewers asked? It was a vehicle which makes it very hard to remember where you parked it.
Later Work and Return
Following this, Tamahori found renewed creativity. His The Devil’s Double in 2011 starred the actor in the twin roles of Saddam Hussein’s hideous son the character and as well as Uday’s decoy double, employed to shield the heir from assassination or kidnapping: this was a punchy, engaging movie which avoided the usual doppelganger cliches. In subsequent times, he went back to the theme of Maori culture, making The Convert in 2023, working with writer his partner. Tamahori was an outstanding filmmaker – but it was his first film, the emotional Once Were Warriors, that was his masterpiece.
