In 1994, the film-maker Lee Tamahori made one of the biggest first films of the decade, firing on all six cylinders with his gut-wrenching socially conscious melodrama Once Were Warriors. The Mekes represent a blue-collar indigenous household in South Auckland: Temuera Morrison is the boozing, brawling, bragging dominant benefit recipient Jake, who returns from pub visits with his pathetic sycophant mates to intimidate and assault Beth, his spouse, portrayed by Rena Owen, and their five children. He shows no concern to the future of his two elder sons who have fallen into gangland culture and illegal activities, including his sensitive daughter the girl, who has talent as a writer. One son gets tattoos; the other is taken to a youth detention where he is partly tutored in the ways of Maori culture – the haka and the traditional weapon – and learns dignity and self-respect. Meanwhile at the disordered home, Grace is assaulted by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and the mother passionately confronts the wretched Jake: “Our ancestors used to be fighters, but in contrast to you, Jake, they were individuals with honor, dignity; people with spirit …”
Emotional Violence and Confident Direction
Tamahori unleashed with such emotional violence, and delivered powerful blows with the pub scenes, domestic moments and the gang ritual initiation scenes, directing them with assurance and energy. He created a bold, sincere film with a very 90s touch of edginess. It was a hit with audiences and critics, and – for good or ill – deeply impressed industry executives in Hollywood who could see how Tamahori could apply this energy and talent to commercial projects.
American Films and Varied Projects
In America, Tamahori made the dark mystery Mulholland Falls, about violent LAPD cops who ignore procedure, and then the David Mamet-scripted adventure drama The Bear with Anthony Hopkins and Alec Baldwin as two men who journey through the wilderness after a plane crash. (This moderate movie gained cult status when its producer he wrote amusingly about the chaotic circumstances 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.
Bond Film and Professional Changes
Yet the peak, or maybe the nadir, of his American work was directing the 007 film Die Another Day in 2002, with the star; this was the installment derided for having the worst gadget in the series – the invisible car. What is the point such a car, audiences wondered? It was a vehicle that makes it difficult to remember its parking spot.
Subsequent Projects and Return
After this, the director discovered some more interesting form. His The Devil’s Double in 2011 starred the actor in dual parts of Saddam Hussein’s brutal offspring the character and also Uday’s decoy double, used to protect the young tyrant-princeling from attack or kidnapping: this was a forceful, watchable movie which avoided the usual doppelganger cliches. In subsequent times, Tamahori returned to the subject of indigenous traditions, making The Convert in 2023, collaborating with writer his partner. Tamahori was an exceptional filmmaker – but it remained his first film, the heartfelt Once Were Warriors, that was his masterpiece.
