In 1994, the director Lee Tamahori delivered one of the most significant debuts of the decade, operating at full capacity with the gut-wrenching social-realist drama Once Were Warriors. This family represent a working-class indigenous household in Auckland's south: the actor is the boozing, brawling, bragging dominant welfare claimant the father, who returns from drinking in the pub with his pathetic sycophant mates to intimidate and abuse his wife Beth, played by Rena Owen, and their kids. He is entirely indifferent to the future of his two elder sons who have drifted into gang life and illegal activities, including his gentle daughter Grace, who has talent as a writer. One son receives tattoos; another is sent to a youth detention where he is at least tutored in the traditions of indigenous heritage – the war dance and the taiaha warrior spear – and gains dignity and self-respect. Meanwhile at the disordered home, Grace is assaulted by a repulsive acquaintance “Uncle Bully”; tragedy ensues, and the mother forcefully challenges the wretched Jake: “Our ancestors used to be fighters, but in contrast to you, they, they were individuals with honor, dignity; soulful beings …”
Emotional Violence and Skilled Filmmaking
Tamahori let rip with such emotional violence, and delivered powerful blows with the pub scenes, the home scenes and gang initiation rituals, directing them with confidence and verve. He crafted a gutsy, sincere picture with a distinctly 90s streak of brash and trash. It succeeded with viewers and reviewers, and – for good or ill – strongly influenced industry executives in the film industry who recognized how Tamahori could apply this energy and talent to commercial projects.
American Films and Diverse Work
Stateside, the director directed the noir thriller Mulholland Falls, about violent LAPD cops who ignore protocol, and then the David Mamet-scripted survival thriller The Bear with Anthony Hopkins and his co-star as two men who trek through wild terrain after a plane crash. (This film became a cult favorite when the producer Art Linson wrote humorously about the turbulent production of shooting with an animal actor in his droll tinseltown memoir What Just Happened?) Along Came a Spider was a serviceable suspense film, and he earned again directing the second in the XXX series XXX State of the Union.
007 Movie and Career Shifts
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 Pierce Brosnan; this was the installment mocked for having the poorest device in 007 history – a cloaked vehicle. Why would anyone need such a car, viewers asked? This car which makes it very hard to recall where you parked it.
Later Work and Comeback
Following this, Tamahori found some more interesting form. The The Devil’s Double in 2011 featured the actor in the twin roles of the dictator's hideous son Uday and as well as his body double, employed to shield the heir from attack or kidnapping: this was a punchy, watchable movie which avoided the usual doppelganger cliches. In subsequent times, Tamahori returned to the theme of indigenous traditions, making The Convert in 2023, working with writer Shane Danielsen. Tamahori was an exceptional director – but it was his first film, the heartfelt Once Were Warriors, that was his greatest work.
