In 1994, the director Lee Tamahori delivered one of the biggest first films of that era, firing on all six cylinders with the gut-wrenching socially conscious drama Once Were Warriors. The Mekes represent a working-class indigenous family in South Auckland: the actor is the drinking, brawling, bragging alpha-male welfare claimant the father, who comes home from drinking in the pub with his weak followers to intimidate and assault his wife Beth, portrayed by Rena Owen, and their kids. He shows no concern to the future of his older boys who have drifted into gang life and illegal activities, including his sensitive daughter the girl, who shows promise as a storyteller. A son receives gang tattoos; the other is taken to a juvenile reformatory where he is at least educated in the ways of Maori culture – the war dance and the traditional weapon – and learns dignity and self-respect. Meanwhile at the disordered home, Grace is raped by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and Beth forcefully challenges the despicable Jake: “Our people once were warriors, but in contrast to you, Jake, they were individuals with honor, pride; people with spirit …”
Emotional Violence and Skilled Filmmaking
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 crafted a gutsy, heartfelt film with a distinctly 90s touch of edginess. It was a hit with viewers and critics, and – whether positive or negative – deeply impressed studio heads in Hollywood who recognized how Tamahori could apply this energy and flair to mainstream genre material.
American Films and Diverse Work
Stateside, Tamahori made the dark mystery Mulholland Falls, about violent LAPD cops who care nothing for procedure, and then the David Mamet-scripted adventure drama The Bear with the actor and Alec Baldwin as characters who journey through the wilderness after their plane crashes. (This film became a cult favorite when the producer Art Linson wrote humorously about the chaotic circumstances of shooting with an animal actor in his witty Hollywood book What Just Happened?) Along Came a Spider was a decent thriller, and he earned again filming the sequel in the triple-X franchise XXX State of the Union.
007 Movie and Professional Changes
Yet the peak, or perhaps the nadir, of his American work was taking on the 007 film Die Another Day in 2002, with the star; it was the Bond film mocked for having the worst gadget in 007 history – a cloaked vehicle. What is the point an invisible car, viewers asked? It was a vehicle which makes it very hard to recall where you parked it.
Subsequent Projects and Comeback
Following this, the director found some more interesting form. The The Devil’s Double in 2011 starred the actor in dual parts of the dictator's hideous son Uday and also Uday’s decoy double, used to shield the heir from attack or kidnapping: it was a forceful, engaging movie which avoided typical double tropes. And in later years, he returned to the subject of indigenous traditions, making The Convert in 2023, collaborating with Australian critic-turned-screenwriter Shane Danielsen. Tamahori was an outstanding director – but it was his first film, the heartfelt Once Were Warriors, that was his masterpiece.
