During 1994, the director Lee Tamahori delivered one of the biggest debuts of the decade, operating at full capacity with the heartbreaking social-realist melodrama Once Were Warriors. The Mekes represent a working-class indigenous family in Auckland's south: Temuera Morrison is the boozing, fighting, bragging dominant benefit recipient the father, who comes home from pub visits with his pathetic sycophant mates to terrorise and assault his wife Beth, portrayed 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 has talent as a writer. A son receives gang tattoos; another is sent to a juvenile reformatory where he is at least educated in the traditions of Maori culture – the war dance and the traditional weapon – and learns self-worth and self-respect. But back at the disordered home, Grace is assaulted by a repulsive acquaintance “Bully”; tragedy ensues, and Beth forcefully challenges the wretched Jake: “Our ancestors once were warriors, but in contrast to you, Jake, they were individuals with honor, pride; people with spirit …”
Emotional Violence and Confident Direction
Tamahori unleashed with such intense drama, and delivered powerful blows with the pub scenes, the home scenes and the gang ritual initiation scenes, directing them with confidence and verve. He crafted a gutsy, heartfelt film with a distinctly 90s touch of edginess. It was a hit with audiences and critics, and – whether positive or negative – deeply impressed studio heads in Hollywood who recognized how Tamahori could apply that dynamism and talent to commercial projects.
American Films and Varied Projects
Stateside, Tamahori made the dark mystery Mulholland Falls, about violent LAPD cops who care nothing for procedure, and then a script by Mamet adventure drama The Bear with Anthony Hopkins and his co-star as characters who journey through wild terrain after a plane crash. (This film became a cult favorite when the producer Art Linson wrote humorously 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 directing the sequel in the triple-X franchise XXX State of the Union.
Bond Film and Professional Changes
But the high point, or maybe the low point, of his Hollywood career was directing the 007 film Die Another Day in 2002, with Pierce Brosnan; this was the installment derided 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 its parking spot.
Later Work and Return
After this, the director found some more interesting form. The The Devil’s Double in 2011 starred the actor in the twin roles of the dictator's brutal offspring Uday and also his body double, used to protect the young tyrant-princeling from assassination or kidnapping: this was a forceful, engaging movie which sidestepped the usual double tropes. In subsequent times, Tamahori went back to the theme of indigenous traditions, directing The Convert in 2023, working with Australian critic-turned-screenwriter his partner. Tamahori was an exceptional filmmaker – but it was his debut, the heartfelt Once Were Warriors, that was his masterpiece.
