In 1994, this director Lee Tamahori made one of the most significant first films of that era, operating at full capacity with the gut-wrenching socially conscious melodrama Once Were Warriors. The Mekes represent a blue-collar indigenous household in Auckland's south: Temuera Morrison is the drinking, brawling, bragging dominant benefit recipient Jake, who returns from pub visits with his weak followers to intimidate and abuse Beth, his spouse, portrayed by the actress, and their kids. He is entirely indifferent 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 storyteller. One son gets tattoos; another is sent to a juvenile reformatory where he is at least educated in the traditions of indigenous heritage – the haka and the traditional weapon – and gains dignity and pride. But back at Jake’s chaotic house, Grace is raped by a repulsive acquaintance “Bully”; tragedy ensues, and the mother forcefully challenges the despicable Jake: “Our ancestors used to be fighters, but in contrast to you, Jake, they were individuals with honor, pride; people with spirit …”
Raw Emotion 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, heartfelt picture with a very 90s touch of brash and trash. It succeeded with audiences and reviewers, and – whether positive or negative – strongly influenced studio heads in the film industry who could see how he could bring that dynamism and talent to commercial projects.
Hollywood Career and Varied Projects
Stateside, Tamahori made the dark mystery Mulholland Falls, about aggressive police officers who ignore protocol, and then the David Mamet-scripted adventure drama The Bear with Anthony Hopkins and Alec Baldwin as two men who trek through the wilderness after their plane crashes. (This film became a cult favorite when its producer he wrote humorously about the chaotic circumstances of shooting with a trained bear in his droll tinseltown memoir What Just Happened?) Along Came a Spider was a decent suspense film, and he earned again directing the sequel in the XXX series XXX State of the Union.
Bond Film and Career Shifts
But the high point, or perhaps the low point, of Lee Tamahori’s American work was taking on the Bond movie Die Another Day in 2002, with Pierce Brosnan; it was the installment derided for having the poorest device in the series – a cloaked vehicle. Why would anyone need an invisible car, viewers asked? It was a vehicle that makes it difficult to recall where you parked it.
Later Work and Comeback
After this, Tamahori found renewed creativity. His The Devil’s Double in 2011 featured the actor in dual parts of the dictator's hideous son the character and also his body double, used to shield the young tyrant-princeling from assassination or kidnapping: it was a punchy, engaging movie which sidestepped typical double tropes. In subsequent times, he returned to the subject of indigenous traditions, directing The Convert in 2023, collaborating with Australian critic-turned-screenwriter his partner. Tamahori was an outstanding director – but it remained his debut, the heartfelt Once Were Warriors, that was his greatest work.
