Jason Momoa is fast and ferocious in this immersive historical epic

Chief of War opens with an almost god-like Kaʻiana (Jason Momoa), with burnished skin and rippling muscle, diving under water to lasso a shark. As predator and prey wrestle, it serves as a powerful metaphor of the show, which tells the true story of the unification of Hawaiʻi, Maui, Oʻahu, and Kauaʻi, by Kamehameha (Kaina Makua), between 1782 and 1810.

After bringing the shark onboard, Kaʻiana says, “in your death may life be preserved,” underlining the close relationship between man and nature.

By choosing to tell the story from Kaʻiana’s perspective, rather than Kamehameha’s, as originally planned, creators Thomas Paʻa Sibbett and Momoa (who also executive produces) have given themselves room to explore different narrative threads.

Kaʻiana was the first, high-ranking islander to travel the world, returning with an understanding of European ways and weaponry. Kaʻiana is also a tragic figure, who, through his travels learns that “the pale man’s greed is stronger than any god or prophecy.”

Kaʻiana served King Kahekili (Temuera Morrison) as war chief but leaves his service after the battle of Oʻahu, disturbed by the slaughter of innocent farmers.

On the run from a vengeful Kahekili, Kaʻiana travels with his step brothers, Namake (Te Kohe Tuhaka) and Nāhi (Siua Ikaleʻo), his wife, Kupuohi (Te Ao o Hinepehinga) and her sister, Heke (Mainei Kinimaka). While there is history, politics, prophecy and bloodshed, the creators should be commended for celebrating the human heart of the story.

There is Kamehameha’s love of farming and growing things rather than war and destruction. He learns from the land, saying, “The quality of the taro is seen in its shoots.” There is his queen, Kaʻahumanu (Luciane Buchanan), a woman far ahead of her times, wishing the best for her husband, her land and herself. There is also the growing attraction between Kaʻahumanu and Kaʻiana, much to the dismay of her father and Kamehameha’s chief counsellor, Moku (Moses Goods).

Keōua’s (Cliff Curtis) jealousy and anger toward his cousin, Kamehameha, who his father, King Kalaniʻōpuʻu’s (Branscombe Richmond), chooses as war chief instead of him has dire consequences with Keōua knocking his tooth out to signify the end of mourning his father and the start of war.

Prince Kūpule (Brandon Finn) is increasingly wary of his father, Kahekili’s excesses. With Kaʻiana gone for a long time and no news of his whereabouts, Namake and Kupuohi find comfort in each other, which shifts the balance upon Kaʻiana’s return.

The westerners who come to the islands include John Young (Benjamin Hoetjes), who is shipwrecked on the island, Captain John Meares (Erroll Shand), who rescues Kaʻiana from Maui, and Tony (James Udom) who teaches Kaʻiana English and about “red-mouthed weapons”.

Much has been said about ʻŌlelo Hawaiʻi, a native language of Hawaiʻi, used in the show being a stumbling block. It actually helps in immersion into the world. From the third episode on, with the arrival of the Europeans, English is spoken with a solid reason given for using English — to avoid spies! The action is relentless and fairly graphic (one of the episodes is called “Day of Spilled Brains”). The holua sled racing sequence is breathtaking.

The cinematography from green-clad hills and azure seas, to angry, lava-belching volcanoes, is stunning as are the costumes including the proud feathered headdress, the mahiole and the fascinating tattoos. Composers Hans Zimmer and James Everingham worked with native Hawaiian musician, Kaumakaiwa Kanaka’ole to create a lush, layered, addictive score.

Though originally conceived as a mini-series, the finale leaves the door open for an eagerly awaited Season 2.

Chief of War is currently streaming on Apple TV+

Published – September 20, 2025 06:07 pm IST