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 melodrama Once Were Warriors. The Mekes represent a working-class indigenous household in South Auckland: Temuera Morrison is the drinking, fighting, bragging dominant benefit recipient Jake, who returns from drinking in the pub with his weak followers to terrorise and abuse Beth, his spouse, played by Rena Owen, and their kids. He is entirely indifferent to the fate of his older boys who have drifted into gangland culture and illegal activities, as well as his sensitive daughter the girl, who has talent as a storyteller. One son gets tattoos; another is sent to a youth detention where he is partly tutored in the traditions of indigenous heritage – the war dance and the taiaha warrior spear – and learns self-worth and self-respect. Meanwhile at the disordered home, the daughter is assaulted by Jake’s grotesque friend “Bully”; disaster follows, and Beth passionately confronts the wretched Jake: “Our ancestors used to be fighters, but unlike you, they, they were individuals with honor, dignity; people with spirit …”
Emotional Violence and Confident Direction
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 confidence and verve. He created a bold, sincere picture with a distinctly 90s touch of edginess. It was a hit with viewers and critics, and – for good or ill – deeply impressed industry executives in Hollywood who could see how Tamahori could bring this energy and talent to commercial projects.
American Films and Diverse Work
Stateside, the director directed the dark mystery Mulholland Falls, about violent LAPD cops who care nothing for protocol, and then the David Mamet-scripted adventure drama The Bear with Anthony Hopkins 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 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 serviceable thriller, and he earned again filming the second in the XXX series XXX State of the Union.
007 Movie and Professional Changes
But the high point, or maybe the nadir, of Lee Tamahori’s Hollywood career was directing the 007 film Die Another Day in 2002, with the star; it was the installment derided for having the worst gadget in 007 history – the invisible car. What is the point such a car, viewers asked? This car that makes it difficult to recall its parking spot.
Later Work and Comeback
After this, the director found some more interesting form. The The Devil’s Double in 2011 featured Dominic Cooper in the twin roles of Saddam Hussein’s brutal offspring Uday and as well as Uday’s decoy double, used to shield the heir from assassination or kidnapping: it was a forceful, watchable film which avoided the usual double cliches. In subsequent times, Tamahori returned to the theme of indigenous traditions, making The Convert in 2023, working with writer Shane Danielsen. He proved to be an exceptional director – but it was his first film, the heartfelt Once Were Warriors, that was his masterpiece.
