Apple TV+’s new historical epic, “Chief of War,” starring and co-created by Jason Momoa, embarks on a sweeping journey through the unification of Hawaii in the late 18th and early 19th centuries, promising a blend of historical drama and intense action. This highly anticipated series aims to captivate audiences with its grand narrative and visceral combat sequences.
While some viewers anticipated constant, large-scale battles, “Chief of War” often delves into intricate political maneuvering, presenting a complex game of strategic chess. This narrative choice provides a deeper look into the power struggles and societal dynamics preceding Hawaii’s unification, though it may diverge from pure action expectations.
Over its nine hour-long episodes, the series delivers visually stunning and brutally effective set pieces, showcasing hand-to-hand combat against the backdrop of Western technological advancements like rifles and cannons. These intense sequences are frequently gorgeous, offering a cinematic quality that hints at big-screen potential.
However, the show’s human elements between these action peaks sometimes feel underdeveloped, with supporting characters struggling to provide sufficient historical nuance. Despite this, Jason Momoa’s central performance as Ka’iana, a warrior chief in self-imposed exile, carries ample charisma, anchoring the series with his commanding presence.
Momoa, deeply involved as co-writer and director of the finale, portrays Ka’iana, who challenges established prophecies and societal norms. The series skillfully navigates the complex political landscape of divided Hawaii, illustrating how distinctions and power plays become increasingly bloody as the narrative progresses, hinting at the inevitable arrival of colonial forces.
The portrayal of Hawaiian unification, traditionally centered on Kamehameha, shifts focus to Momoa’s Ka’iana, who offers a more cynical, prescient view of approaching Western influence. This perspective, contrasting with a naive Kamehameha, suggests a nuanced exploration of trade benefits versus cultural erosion and subservience.
Aesthetically, “Chief of War” draws inspiration from 90s and 00s action epics, blending blockbuster stunts with historical themes emphasizing the gore of the past. While offering representational progress, this approach sometimes blurs the line between Hollywood dramatization and historical accuracy, inviting discourse on its interpretation of Hawaiian history.
Ultimately, “Chief of War” is distinctly Momoa’s vehicle, with his high-intensity, feral swagger dominating every frame. Comparisons to his previous iconic roles like Baba Voss or Khal Drogo are inevitable, reinforcing his unique ability to command attention in roles requiring powerful, decisive figures amidst violent conflict.
The series’ exploration of diverse characterizations, though sometimes fleeting for female roles, underscores a broader narrative ambition. Despite potential writing flaws highlighted by the predominantly male writing and directing team, the series makes strides in representation. It presents a robust, visually striking historical drama, albeit one that prioritizes a cinematic spectacle inspired by past action films over strict historical fidelity. This blend ensures “Chief of War” remains a compelling, albeit stylized, look at a pivotal period in Hawaiian history, driven by Momoa’s compelling portrayal.
