In 1994, this film-maker Lee Tamahori delivered one of the most significant debuts of that era, firing on all six cylinders with the heartbreaking social-realist drama Once Were Warriors. The Mekes are a working-class indigenous family in Auckland's south: the actor is the drinking, fighting, boasting dominant benefit recipient Jake, who returns from pub visits with his pathetic sycophant mates to intimidate and assault Beth, his spouse, played by the actress, and their five children. He shows no concern to the fate of his two elder sons who have drifted into gang life and illegal activities, including his gentle daughter the girl, who shows promise as a writer. A son receives gang tattoos; the other is taken to a youth detention where he is partly tutored in the traditions of indigenous heritage – the war dance and the traditional weapon – and learns self-worth and pride. But back at the disordered home, Grace is assaulted by Jake’s grotesque friend “Bully”; tragedy ensues, and Beth passionately confronts the despicable Jake: “Our ancestors once were warriors, but in contrast to you, Jake, they were individuals with honor, dignity; people with spirit …”
Raw Emotion and Skilled Filmmaking
Tamahori unleashed with such emotional violence, and delivered powerful blows with bar sequences, the home scenes and gang initiation rituals, directing them with confidence and verve. He created a gutsy, sincere film with a very 90s touch of edginess. It succeeded with audiences and critics, and – whether positive or negative – deeply impressed industry executives in Hollywood who recognized how he could bring that dynamism and talent to commercial projects.
American Films and Diverse Work
Stateside, the director directed the dark mystery Mulholland Falls, about aggressive police officers who ignore procedure, and then a script by Mamet adventure drama The Bear with Anthony Hopkins and his co-star as two men who journey through wild terrain after their plane crashes. (This moderate movie became a cult favorite when its producer he 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 serviceable thriller, and he had another payday filming the sequel in the XXX series XXX State of the Union.
007 Movie and Professional Changes
But the high point, or maybe the low point, of his American work was taking on the 007 film Die Another Day in 2002, with Pierce Brosnan; it was the installment mocked for having the worst gadget in 007 history – the invisible car. What is the point such a car, viewers asked? It was a vehicle which makes it very hard to remember where you parked it.
Later Work and Comeback
After this, Tamahori discovered some more interesting form. The The Devil’s Double in 2011 starred Dominic Cooper in dual parts of Saddam Hussein’s hideous son the character and as well as Uday’s decoy double, used to shield the young tyrant-princeling from attack or kidnapping: this was a forceful, engaging movie which sidestepped typical doppelganger cliches. And in later years, Tamahori returned to the theme of indigenous traditions, making The Convert in 2023, working with Australian critic-turned-screenwriter Shane Danielsen. Tamahori was an outstanding filmmaker – but it was his debut, the heartfelt Once Were Warriors, that was his masterpiece.
