In 1994, the film-maker Lee Tamahori made one of the most significant debuts of the decade, 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 plays the boozing, brawling, boasting alpha-male benefit recipient the father, who returns from drinking in the pub with his weak followers to terrorise and assault his wife Beth, played by the actress, and their kids. He shows no concern to the fate of his two elder sons who have fallen into gang life and illegal activities, including his gentle daughter the girl, who has talent as a storyteller. A son receives tattoos; the other is taken to a juvenile reformatory where he is at least educated in the ways of indigenous heritage – the war dance and the traditional weapon – and gains dignity and pride. Meanwhile at the disordered home, Grace is raped by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and Beth forcefully challenges the despicable Jake: “Our ancestors used to be fighters, but in contrast to you, Jake, they were people with mana, pride; soulful beings …”
Raw Emotion and Skilled Filmmaking
Tamahori let rip with all this emotional violence, and landed sledgehammer punches with the pub scenes, the home scenes and the gang ritual initiation scenes, handling them with confidence and energy. He created a bold, sincere film with a very 90s touch of edginess. It was a hit with viewers and critics, and – whether positive or negative – strongly influenced studio heads in Hollywood who could see how he could bring that dynamism and flair to mainstream genre material.
American Films and Diverse Work
Stateside, the director directed the noir thriller Mulholland Falls, about violent LAPD cops who ignore protocol, and then the David Mamet-scripted adventure drama The Bear with Anthony Hopkins and his co-star as characters who trek through wild terrain after their plane crashes. (This film became a cult favorite when its producer Art Linson wrote humorously about the turbulent production 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 second in the triple-X franchise XXX State of the Union.
007 Movie and Professional Changes
But the high point, or perhaps the nadir, of his Hollywood career 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 – the invisible car. What is the point such a car, viewers asked? It was a vehicle that makes it difficult to remember its parking spot.
Later Work and Return
After this, Tamahori found some more interesting form. His The Devil’s Double in 2011 starred the actor in the twin roles of Saddam Hussein’s hideous son Uday and also his body double, used to protect the heir from attack or kidnapping: this was a forceful, engaging film which avoided the usual doppelganger cliches. And in later years, he returned to the subject of indigenous traditions, directing The Convert in 2023, working with writer Shane Danielsen. He proved to be an outstanding director – but it was his first film, the emotional Once Were Warriors, that was his greatest work.
