In 1994, the film-maker Lee Tamahori delivered one of the biggest first films of that era, firing on all six cylinders with the heartbreaking social-realist melodrama Once Were Warriors. This family represent a working-class Maori family in South Auckland: the actor is the drinking, brawling, boasting dominant welfare claimant the father, who returns from pub visits with his weak followers to intimidate and assault Beth, his spouse, portrayed by the actress, and their kids. He is entirely indifferent to the fate of his two elder sons who have drifted into gang life and crime, 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 partly tutored in the traditions of indigenous heritage – the haka and the taiaha warrior spear – and gains self-worth and self-respect. But back at the disordered home, Grace is raped by a repulsive acquaintance “Bully”; tragedy ensues, and Beth passionately confronts the wretched Jake: “Our ancestors once were warriors, but unlike you, Jake, they were individuals with honor, pride; soulful beings …”
Emotional Violence and Confident Direction
Tamahori unleashed with all this emotional violence, and delivered powerful blows with the pub scenes, domestic moments and gang initiation rituals, directing them with confidence and verve. He created a gutsy, sincere picture with a very 90s streak of brash and trash. It was a hit with viewers and reviewers, and – for good or ill – deeply impressed studio heads in the film industry who recognized how Tamahori could apply this energy and flair to commercial projects.
American Films and Varied Projects
In America, the director made the dark mystery Mulholland Falls, about violent LAPD cops who ignore procedure, and then a script by Mamet survival thriller The Bear with Anthony Hopkins and his co-star as two men who trek through the wilderness after their plane crashes. (This film became a cult favorite when the producer Art Linson wrote humorously about the turbulent production of filming with a trained bear in his droll tinseltown memoir What Just Happened?) Along Came a Spider was a serviceable suspense film, and he had another payday directing the second in the XXX series XXX State of the Union.
Bond Film and Professional Changes
But the high point, or perhaps the low point, of Lee Tamahori’s American work was directing the 007 film Die Another Day in 2002, with the star; this was the Bond film derided for having the worst gadget in the series – a cloaked vehicle. Why would anyone need an invisible car, viewers asked? This car which makes it very hard to remember its parking spot.
Subsequent Projects and Comeback
After this, Tamahori found renewed creativity. His The Devil’s Double in 2011 starred the actor in the twin roles of Saddam Hussein’s hideous son the character and as well as his body double, employed to protect the young tyrant-princeling from attack or abduction: this was a punchy, watchable film which avoided typical double tropes. And in later years, he returned to the theme of Maori culture, directing The Convert in 2023, collaborating with Australian critic-turned-screenwriter his partner. Tamahori was an exceptional director – but it was his first film, the heartfelt Once Were Warriors, that was his greatest work.
