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In 1994, the film-maker Lee Tamahori delivered one of the biggest first films of the decade, firing on all six cylinders with the heartbreaking socially conscious melodrama Once Were Warriors. The Mekes represent a blue-collar Maori household in Auckland's south: the actor is the drinking, fighting, bragging dominant benefit recipient Jake, who comes home from pub visits with his weak followers to terrorise and abuse his wife Beth, played by the actress, and their kids. He shows no concern to the future of his older boys who have drifted into gang life and illegal activities, as well as his sensitive daughter the girl, who shows promise as a writer. One son gets tattoos; another is taken to a youth detention where he is partly tutored in the ways of indigenous heritage – the war dance and the traditional weapon – and learns self-worth and pride. Meanwhile at the disordered home, Grace is raped by a repulsive acquaintance “Bully”; tragedy ensues, and Beth forcefully challenges the despicable Jake: “Our people used to be fighters, but in contrast to you, Jake, they were people with mana, pride; soulful beings …”

Raw Emotion and Skilled Filmmaking

Tamahori let rip with such intense drama, and landed sledgehammer punches with the pub scenes, domestic moments and the gang ritual initiation scenes, directing them with confidence and verve. He created a bold, sincere film with a very 90s touch of edginess. It was a hit with audiences and reviewers, and – for good or ill – deeply impressed industry executives in the film industry who recognized how Tamahori could apply that dynamism and flair to commercial projects.

Hollywood Career and Diverse Work

Stateside, Tamahori directed the dark mystery Mulholland Falls, about violent LAPD cops who ignore procedure, and then a script by Mamet adventure drama The Bear with Anthony Hopkins and his co-star as two men who trek through the wilderness after their plane crashes. (This film gained cult status when its producer he 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 decent suspense film, and he earned again filming the second in the XXX series XXX State of the Union.

Bond Film and Professional Changes

But the high point, or maybe the low point, of his American work was taking on the Bond movie Die Another Day in 2002, with the star; it was the Bond film mocked for having the worst gadget in the series – a cloaked vehicle. What is the point such a car, viewers asked? It was a vehicle that makes it difficult to remember where you parked it.

Later Work and Return

After this, the director discovered renewed creativity. The The Devil’s Double in 2011 starred Dominic Cooper in dual parts of the dictator's hideous son the character and also his body double, employed to protect the heir from attack or kidnapping: this was a forceful, watchable film which sidestepped the usual double tropes. And in later years, he went back to the subject of Maori culture, directing The Convert in 2023, working with Australian critic-turned-screenwriter Shane Danielsen. He proved to be an exceptional director – but it was his debut, the emotional Once Were Warriors, that was his greatest work.