NOW IN THEATERS AND VOD! Warriors definitely come out to play in the New Zealand historical epic The Convert, the magnificent return to form by the great Maori director Lee Tamahori. Written by Tamahori and Shane Danielson (based on Michael Bennett’s story adaption of Hamish Clayton’s novel), the film opens in the 1830s on a ship heading to New Zealand. Thomas Munro (Guy Pearce) is heading to Epworth, a tiny British settlement where he is to be a preacher. Munro even brought a white horse with him to ride in on.
However, during a stop at an island on the way for repairs, the preacher finds himself in the middle of a blood-drenched massacre of a Maori village by an invading tribe. Munro begs invading Chief Akatarawa (Lawrence Makoare) to grant mercy to the captured Maori woman Rangimai (Tioreore Ngatai-Melbourne) instead of finishing her off. Akatarawa replies that the concept of mercy is alien, but he will spare her life in exchange for that white horse. Munro sails off with Rangimai to Epworth, which is on an island that is ruled by Maianui (Antonio Te Maioha). Rangimai is still severely wounded upon arrival, but the only doctor in the colony won’t treat anyone who isn’t British. Munro is secretly told to see Charlotte (Jacqueline McKenzie), the village outcast who speaks Maori and has healing knowledge. Charlotte soon finds out who Rangimai really is, but it will take her longer to discover Munro’s secret savage past.

 
“Rangimai is still severely wounded upon arrival, but the only doctor in the colony won’t treat anyone who isn’t British.”
I remember what a huge deal Tamahori’s breakout feature Once Were Warriors was back during the indie revolution of the 1990s. It exploded onto the scene in so many directions, putting its tattoos on the face of cinema. That movie hit on many levels with an intensity and depth previously unrealized. Tamahori’s talent was recognized by the industry, who immediately drafted him into the major leagues. He headlined A-List projects for over a decade, working with massive stars on fare like The Edge as well as helming installments of the James Bond and XXX franchises. He’s an excellent craftsman who, like Howard Hawks, can do solid work in any genre. However, his oeuvre lacks a tangible signature that identifies those titles as being from the same director as Once Were Warriors.
This is why The Convert is such an essential and exciting cinematic event. Tamahori’s return of focus to Maori culture raises his initial high water mark, as here he gets to show us how those warriors that once were rocked it for hundreds of years. While the famous war dances while making faces are well known to audiences, they haven’t seen them in action as here. The brutal images of Maori violence are terrifically eye-gouging, with a historical accuracy that cuts to the cinematic bone. The filmmaker’s unique art runs high in these slaughter showcases, getting him back to where it all began spectacularly.