Once Were Warriors

 

In terms of a single film galvanizing a nation’s film industry, few examples stand out quite as clearly as the impact Once Were Warriors had in New Zealand. The unflinching, brutal presentation of domestic violence and alcoholism in a suburban Māori family was both hugely controversial and remarkably successful internationally following its release in 1994. Lee Tamahori’s debut feature was adapted from Alan Duff’s 1990 book, which caused its own controversy. Alternatively hailed as a brave and constructive text that lifted the lid on relationships between Māori and descendants of European settlers (Pākehā) and as a dangerous and needlessly provocative work that reinforced negative stereotypes about the Māori population, Once Were Warriors was a cultural, artistic and social phenomenon.

Emiel Martens’ brilliant book, Once Were Warriors: The Aftermath, scrutinizes the “war of interpretation” surrounding both Duff’s book and Tamorahi’s film, examining the controversy and determining the limits of what was “seeable and sayable about Māori identity at the time of the emergence of both book and film.”

Māoris arrived in New Zealand from Eastern Polynesia some time in the 1200s, and over four centuries of relative isolation developed their own unique culture, language and rich heritage. The arrival of European settlers in the seventeeth century naturally forced enormous changes amongst the Māori population, but in comparison with Native Americans or the Aboriginal population of Australia, the co-inhabitations have been reasonably successful.  That isn’t to say that there aren’t still huge problems, with the Māori population (roughly 15% of New Zealand) still facing disproportionate levels of economic and social hardship, lower levels of income and life expectancy and high levels of crime and educational under-achievement; but both Māori heritage and members of the population are present in much of New Zealand’s culture, from sports teams to politics, every day language and, as with Once Were Warriors, their artistic output.

A documentary celebrating the twentieth anniversary of the film made by Julian Arahanga – the actor who played Jake Heke – revealed that director Lee Tamarohi and producer Robin Scholes sought the blessing from leading Māori figures to make the film. Assurances were made that key members of the crew (as well as the entire cast) would be made up of Māori talent. Negative press surrounding the film accused it of perpetuating negative stereotypes, whereas others sought to shine a light on a problem they knew existed in the Māori community, in order to break the taboo.

While he has since gone on to direct films in the James Bond franchise, as well as several episodes of The Sopranos, in 1993 director Lee Tamarohi had only made commercials. Although his talent was starting to be recognised, questions surrounded the decision to let him direct a feature with incredibly delicate subject matter. Even more vociferous doubt was cast towards the choice of Temuera Morrison as violent patriarch Jake Heke. He was known to New Zealand audiences as heartthrob Dr. Ropate in long running daytime soap Shortland Street, and few saw his potential to play a character fuelled by ferocious bursts of anger and violence, at once terrifying and possessing an animalistic charisma. Even Rena Owen, who played his long-suffering wife Beth, expressed her concerns that he perhaps wasn’t up to it after struggling to connect with Morrison in early rehearsals.

But a fit of anger from Morrison during those early days exposed who Jake Heke (or Jake the Muss) could be, and provided a platform for which Morrison created one of the most memorable characters in modern film history, and over two decades later it’s impossible to imagine anyone else playing the role. 

Once Were Warriors was released to universal praise in 1994, and became the biggest New Zealand box office success both nationally and internationally, surpassing Jane Campion’s The Piano. It swept up at the New Zealand film awards, winning in every category it was nominated except one – Best Actress, in which Rena Owen was disgracefully overlooked. It is consistently voted the greatest New Zealand film of all time, and over twenty years later remains as shocking a presentation of domestic abuse and the effects of alcoholism ever made.

Although Once Were Warriors deals with incredibly sensitive cultural issues within the Māori population, it is also a celebration of much that is good about it. Beth Heke’s strength in overcoming the abusive husband to whom she is still desperately in love, with one arm reaching back into her ancestral past, and one straining forward to a better future; she is the embodiment of survival under seemingly hopeless circumstances. Although most remember Morrison’s performance as Jake the Muss, it is Rena Owen’s film. It is her strength of will and ability to continue that acts as the cornerstone for everything that happens.

The impact the film had on the New Zealand film industry was immeasurable. Both Morrison and Owen went on to star in the Star Wars franchise; Cliff Curtis (Uncle Bully) has become a hugely respected actor, appearing in Danny Boyle’s Sunshine and last year’s brilliant The Dark Horse. In an era where making $1 million at the NZ box office was considered a success, Once Were Warriors made over $8 million, with an estimated one in three Kiwis seeing it at the cinema. Seeing a suburban Māori family be destroyed by alcohol, domestic abuse, rape and suicide is far from an easy watch, but it is a film of unspeakable power and authenticity, at once shining a light on the problems in the Māori community and celebrating its rich heritage.  

Once Were Warriors will be showing as part of Scalarama on Saturday 26 September 2015 at The Lofthouse at 7pm. The event is free. The film screening will be followed by live music from The Megaphonic Thrift, Fists, JCDecaux and BAD MEN. 

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