In 1994, the film-maker Lee Tamahori made one of the biggest first films of that era, operating at full capacity with the heartbreaking social-realist drama Once Were Warriors. The Mekes represent a working-class Maori household in South Auckland: the actor is the boozing, fighting, bragging dominant welfare claimant the father, who comes home from drinking in the pub with his weak followers to terrorise and assault his wife Beth, portrayed by Rena Owen, and their kids. He shows no concern to the fate of his older boys who have drifted into gang life and illegal activities, as well as his gentle daughter Grace, who has talent as a writer. One son gets gang tattoos; another is taken to a youth detention where he is at least educated in the traditions of indigenous heritage – the haka and the traditional weapon – and gains self-worth and pride. Meanwhile at Jake’s chaotic house, Grace is raped by a repulsive acquaintance “Bully”; tragedy ensues, and Beth passionately confronts the despicable Jake: “Our people once were warriors, but unlike you, Jake, they were people with mana, dignity; people with spirit …”
Emotional Violence and Skilled Filmmaking
Tamahori let rip with all this emotional violence, and delivered powerful blows with the pub scenes, domestic moments and the gang ritual initiation scenes, handling them with assurance and verve. He created a bold, sincere picture with a very 90s touch of edginess. It was a hit with viewers and critics, and – for good or ill – strongly influenced studio heads in the film industry who could see how he could apply that dynamism and flair to commercial projects.
American Films and Varied Projects
Stateside, the director directed 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 two men who journey through wild terrain after a plane crash. (This moderate movie became a cult favorite when the producer Art Linson wrote amusingly about the chaotic circumstances of filming with an animal actor in his witty Hollywood book What Just Happened?) Along Came a Spider was a decent thriller, and he had another payday filming the sequel in the triple-X franchise XXX State of the Union.
Bond Film 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 Pierce Brosnan; it was the Bond film mocked for having the worst gadget in the series – the invisible car. What is the point an invisible car, audiences wondered? It was a vehicle which makes it very hard to recall its parking spot.
Subsequent Projects and Comeback
After this, Tamahori discovered some more interesting form. The The Devil’s Double in 2011 featured Dominic Cooper in the twin roles of the dictator's brutal offspring Uday and as well as Uday’s decoy double, used to shield the heir from assassination or kidnapping: it was a punchy, engaging film which avoided the usual double cliches. And in later years, he went back to the theme of indigenous traditions, directing The Convert in 2023, collaborating with writer Shane Danielsen. Tamahori was an exceptional filmmaker – but it was his first film, the emotional Once Were Warriors, that was his greatest work.
