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In 1994, the film-maker Lee Tamahori delivered one of the most significant first films of that era, firing on all six cylinders with his gut-wrenching social-realist drama Once Were Warriors. The Mekes represent a blue-collar indigenous household in South Auckland: the actor is the drinking, brawling, boasting dominant benefit recipient Jake, who comes home from drinking in the pub with his pathetic sycophant mates to terrorise and assault his wife Beth, played by Rena Owen, and their kids. He shows no concern to the fate of his two elder sons who have drifted into gangland culture and illegal activities, including his gentle daughter the girl, who shows promise as a writer. One son gets tattoos; the other is sent to a youth detention where he is at least educated in the traditions of indigenous heritage – the war dance and the traditional weapon – and learns self-worth and self-respect. Meanwhile at Jake’s chaotic house, the daughter is assaulted by Jake’s grotesque friend “Bully”; tragedy ensues, and Beth forcefully challenges the despicable Jake: “Our ancestors once were warriors, but unlike you, Jake, they were individuals with honor, dignity; people with spirit …”

Emotional Violence and Confident Direction

Tamahori unleashed with such emotional violence, and landed sledgehammer punches with the pub scenes, domestic moments and gang initiation rituals, handling them with assurance and energy. He created a bold, heartfelt picture with a very 90s touch of brash and trash. It succeeded with audiences and reviewers, and – whether positive or negative – strongly influenced industry executives in Hollywood who could see how he could bring that dynamism and flair to commercial projects.

American Films and Varied Projects

Stateside, Tamahori directed the dark mystery Mulholland Falls, about aggressive police officers who care nothing for protocol, and then a script by Mamet adventure drama The Bear with the actor and Alec Baldwin as characters who journey through wild terrain after a plane crash. (This film gained cult status when the producer he wrote amusingly about the chaotic circumstances 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 had another payday directing the sequel 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 American work was directing the Bond movie Die Another Day in 2002, with the star; this was the Bond film mocked for having the poorest device in 007 history – the invisible car. Why would anyone need such a car, audiences wondered? This car that makes it difficult to recall its parking spot.

Later Work and Comeback

After this, Tamahori found renewed creativity. His The Devil’s Double in 2011 starred the actor in dual parts of the dictator's hideous son Uday and as well as Uday’s decoy double, employed to shield the young tyrant-princeling from attack or kidnapping: it was a forceful, watchable film which sidestepped the usual double tropes. In subsequent times, he returned to the theme of indigenous traditions, making 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 masterpiece.