In 1994, the film-maker Lee Tamahori made one of the biggest first films of that era, operating at full capacity with the gut-wrenching social-realist drama Once Were Warriors. The Mekes are a blue-collar indigenous family in Auckland's south: the actor is the drinking, brawling, boasting dominant benefit recipient Jake, who returns from pub visits with his pathetic sycophant mates to terrorise and abuse his wife Beth, played by the actress, and their kids. He is entirely indifferent to the future of his older boys who have fallen into gang life and illegal activities, as well as his sensitive daughter Grace, who has talent as a writer. A son receives gang tattoos; the other is taken to a youth detention where he is at least educated in the traditions of Maori culture – the war dance and the taiaha warrior spear – and gains dignity and pride. But back at the disordered home, Grace is assaulted by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and the mother passionately confronts the despicable Jake: “Our people used to be fighters, but in contrast to you, Jake, they were individuals with honor, dignity; soulful beings …”
Emotional Violence and Confident Direction
Tamahori let rip with such emotional violence, and landed sledgehammer punches with the pub scenes, the home scenes and the gang ritual initiation scenes, directing them with assurance and energy. He created a gutsy, heartfelt film with a very 90s streak of edginess. It was a hit with viewers and critics, and – whether positive or negative – strongly influenced studio heads in Hollywood who could see how Tamahori could apply that dynamism and flair to mainstream genre material.
Hollywood Career and Diverse Work
Stateside, the director 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 their plane crashes. (This moderate movie became a cult favorite when the producer Art Linson wrote humorously about the turbulent production of filming with an animal actor in his witty Hollywood book What Just Happened?) Along Came a Spider was a serviceable thriller, and he earned again directing the second in the XXX series XXX State of the Union.
Bond Film and Career Shifts
Yet the peak, or perhaps the low point, of his American work was directing the 007 film Die Another Day in 2002, with the star; it was the Bond film derided for having the poorest device in 007 history – a cloaked vehicle. Why would anyone need an invisible car, audiences wondered? It was a vehicle that makes it difficult to recall where you parked it.
Later Work and Return
Following this, the director found some more interesting form. His The Devil’s Double in 2011 starred Dominic Cooper in the twin roles of Saddam Hussein’s hideous son Uday and also Uday’s decoy double, employed to shield the heir from assassination or abduction: it was a punchy, engaging movie which sidestepped the usual doppelganger cliches. In subsequent times, he returned 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 first film, the emotional Once Were Warriors, that was his greatest work.
