Hero

A few things about this film struck me. My background coming into it is as an East Asian Studies major - I studied the language, culture, literature, film, history, religion, and politics of China. This was all done in undergrad so I am by no means the last word on the subject.

First of all, I noticed heavy use of Daoist symbols. The five elements were used - one per fight - fire, wind, water, wood, and metal. A message in the film seemed to show the Daoist idea that the harder you try, the worse you do, as Moon did in her fights. On the other hand, if you can go with the Dao (think: Use the force, Luke), you will succeed.

Second, I did not know before watching the film that it was Zhang Yimou's. His films are often critical of the Chinese Communist Party and sometimes have deep allegorical meaning. Some of his films are banned in China. Hero, on the other hand, seemed to be intensely nationalistic. Lately in China, the communist government has promoted nationalism (instead of populist Communist values as they did pre-1976) with a great degree of success. The use of the word "Tianxia" (literally "all under heaven," translated in the movie was "Our Land") seems Confucian and nationalistic at the same time. Although I would have not guessed this film was by Zhang Yimou from the plot or message, the cinematography was unmistakable. Hero eerily reminded me of another film, Yellow Earth (Huang Tudi), which Zhang Yimou did not direct but for which he did the cinematography.

Third, historically, Hero lacked in a few very obvious places. The Qin Emperor, Qin Shi Huang, was legendary for his fear of death and his Machiavellian rule. When his character states that he no longer fears death because of Broken Sword's words and invites Nameless to kill him, he is entirely breaking with the true historical figure of the emperor. Remember, this is the emperor who built an entire terracotta army to protect him from his enemies in death and spent a lot of money and effort looking for the secret to reach immortality. He was known for a Confucian philosophy spin-off known as Legalism, which is very similar to Western Machiavellianism. While his quick mind (or his advisor's) might have figured out Nameless's plot, he would never have hesitated in executing him.

Overall, this seems like a break from the usual genre one would expect from Zhang Yimou. I am not sure exactly what message he is trying to convey with this film, other than an endorsement of Chinese nationalism and perhaps Daoism as well.

Hero is noteworthy on at least two counts.

First, there are scenes of haunting beauty("Duel in the yellow forest" and "Turquoise autumn" to site a couple) that, like the best of impressionist paintings, are so affecting that you will forever see the world in a slightly different way having once beheld them.

Secondly, the overall message of the film is a provocative one. The claim is that a degree of human casualties and suffering may be the optimal path to a better world, especially when the alternative is equally brutal chaos. This is not a popular theme. It has become much more fashionable to be anti-war in all cases. And understandably so, since variations of this logic have often been used in the past to justify atrocities. But the film provides a crisp litmus test for avoiding delusion: action must be taken with a heart void of malice and an unwavering commitment to the broadest possible ultimate outcome of good for all. Can anyone live up to this standard? Several characters in the movie do, each in their own way. If the standard could be met, would the world be a better place? These are questions worth reflecting on that have not been dealt with, to this depth, in any film I'm aware of.

After two years of hearing about the myth of the most expensive Chinese film ever made, Hero has finally floated on to British cinema screens. As it flies, it trails a coloured cloth that carries the film's numerous morals and messages which descend upon you like a soft layer of fabric. This is a film that can lift your spirits and have you laughing out in sheer joy as you gaze in wonder at the perfection of the mise-en-scene and cinematography. That is, if you let the film take you on a journey, without pondering the films questionable plot points.

Hero is two sides of a tale as presented by Nameless (Jet Li), a mere Prefect who defeated three deadly assassins, and the King of Qin (Daoming Chen), the man the assassins wished to kill. Nameless weaves his heroic though modest story of how he killed the assassins, but the King remains unconvinced, spinning his own version of how he believed events unfolded.

Director Yimou Zhang takes us through Nameless' story first, spreading the battle sequences thick, allowing them to take their own time. In the King's version, certain battles are then revised, which is remarkably brave considering that some battles are utter fabrications. In one such fictitious fight, in a faultlessly designed set, Nameless and Sky (Donnie Yen) close their eyes and fight out the battle within their minds. Screen time is being spent lavishly on showing how two characters contemplated a fight, whilst fighting each other in a battle that never occurred. It is confusing certainly, but perhaps Zhang wished for his audience to get lost in the plot's design so that they would not question the warrantability of half of the battle sequences, which make up most of the film.

Yet, it is difficult to ponder these details when they are made so utterly insignificant when viewing such a spectacle. The sheer beauty of the battles, the gentle floating of the assassins as they fly around their arenas (which range from a forest full of orange leafed trees, crisp leaves falling down to the ground like rain, to the crystal clear and calm of a mountain lake), the costumes of characters at varying stages in the story line (red for passion, green for youth, white for truth, blue for love), the amazing army scenes which feature thousands of arrows being fired into the sky to create a black cloud that descends right on top of the camera, all these elements combine to produce a faultlessly perfect image on the screen, each frame a worthy photograph that gently reminds you why cinema is the greatest art form of the twentieth century.

And characterisation is not lost in this beauty as one may have feared. Despite the irritating two dimensional performance of Zhang Ziyi as Moon, the other actors carry off fine performances, especially Tony Leung Chiu Wai as Broken Sword and Daoming Chen as the King. Their performances are especially credible as they are often drowning in the memories of the King and Nameless - they need to change slight mannerisms in order to reflect whose mind they are now in.

The script too is of an impressively high standard. The moments of clarity that the warriors feel are experienced by the audience also, and there are some very informed outlooks of the emptiness of warfare, communicating that to achieve peace, sometimes war is the only option. These messages of course seem fitting in our current times, underlining how ancient some of the methods of our governing body truly are.

Hero is undoubtedly a most beautiful and awe inspiring film. What it lacks in plot substance, it makes up for with structure and script. It elaborates on the ground work created by 'Crouching Tiger' and is an experience that I would encourage you to seek out, as long as you are willing to submit to the film and let it guide you through its world on its own terms.

Rating: 4/5

After two viewings, I am still not sure what to make of this film, story-wise. I have no problems exalting praise for the cinematography which, for many people, was the drawing point. It's what got me to watch the movie. I had heard it was the most beautiful film ever made. Well, I wouldn't go that far, but it IS visually spectacular. It's even more appreciated now that I watched one of the documentaries in which I learned to what great lengths director Yimou Zhang the crew went to, to make this look so good. It took a lot of patience, waiting for just the right conditions, such as the smooth, silvery lake which only was calm two hours a day.

Overall, I didn't think the story was that appealing except for the good message at the end, about the good of all being more important than satisfying one's personal vengeance. Well, who could argue with that? As for the rest, perhaps being a Westerner unfamiliar with Eastern culture, it's harder for me to relate to the mind-set. I would be interested to know how Asians viewed this story, as opposed to similar films.

Sometimes I think these wild Crouching Tiger-like action scenes are too long and overdone, but at least in this film they were very original and, once again, more visuals feasts than anything else. On my second viewing, I discarded the subtitles and went with the dubbed version to concentrate more on the stunning look of this film. It paid off. Even if I don't quite follow everything, each scene is such eye-candy that you can't go wrong viewing this.

While i enjoyed this movie very much, i believe Hero will get the kinds of reviews and responses that Crouching Tiger Hidden Dragon (CTHD) did, and still does, ie. either you liked it very much, or you couldn't see what the fuss was all about. This dichotomy of opinions makes for interesting study because it seems to cut across cultural and intellectual differences. Everywhere the film is shown, there will a segment of the audience that will love and rave about it, and another segment that will be wondering if they had been watching the same movie. I can't explain why this is so, but i suspect it has a lot to do with a viewer's initial expectation of the movie, and then his perception and appreciation of the nuances in the telling of the storyline.

Hero is a film that is beautiful in many aspects. The direction and photography is artsy without being pretentious. Every shot is worthy of being a work of art in itself. The language spoken is traditional mandarin, but oh, so easy to the ear, even though i couldn't understand every word. (I don't think Tony's and Maggie's voices were dubbed, but i could be mistaken). The main characters were very well acted out, especially that of the role of the Qin Emperor. Zhang Ziyi's character was largely insignificant though, so i think she's been put in to add some star power to the production. The fighting scenes are unusual by most standards, employing an interesting combination of CGI and real action. Some of the powers that the characters possess appear too amazing to be true, but remember that some of the fights only took place in the fighters' imagination. The music, though quite similar to that in CTHD, is appropriate, and sticks hauntingly to the back of your mind long after the movie is over.

I went to the cinema having heard some of the hype leading to the movie, but with no real knowledge of the storyline, and not expecting a lot. I think that helped me enjoy the movie more, because the way the story unfolded actually set me thinking and anticipating in a manner that i could not have had i known more about the storyline. The message at the end of the movie is simple, but certainly open for debate. In fairness, i don't think the director attempted to provide an answer, as to whether the decision made by the Nameless One was the correct one or not, but rather to ask questions. I'd better not give out too much here, but it certainly set me thinking about things for a little while after the show had ended. These days, any movie that can get me pondering after the credits go down has got to be pretty good.

Overall an excellent movie. I'm sure some areas could be better, but i can't think of any right now. Highly recommended.

Score: 8.5/10