Hero
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Movie Reviews of Hero
Movie Review: A profound philosophical story about the relationship between power and violence
Summary: 5 Stars
"Hero" is a visually stunning and philosophically profound parable on the relationship between violence and power. It is one of the very few movies that achieves a remarkable fusion between the philosophical ideas underlying the narrative and the visual language that is used to recreate it before our eyes.
Below I am going to recount the philosophical backbone to the plot in some detail so I would advise those who would like to give themselves the opportunity to unravel the ideas on their own not to read further until they have seen the movie.
It all starts with a king who ruthlessly wages war to conquer neighbouring people. His brutal expansionism breeds hatred and resentment in those that have been subjugated to his rule. Three masters of the sword - Sky, Flying Snow and Broken Sword - unite to kill the tyrant. Their attempts remain unsuccesful. Then they are joined by a fourth master - Nameless - who persuades them to join in a plot combining cunning and force to murder the king.
The first part of the movie is only an introduction to the central point at issue. After his alleged victory over the three plotters, Nameless is invited to the royal palace. He is allowed to come within ten paces of the monarch. Later we will learn that Nameless has been training for 10 years to unfailingly kill from that position. So at that point the king is virtually dead. Nothing can technically stop Nameless to take his life.
The king asks him details about the way he has defeated his opponents. He is not satisfied by the account that Nameless offers him and recognises the deadly intentions of his guest. The King then recounts an alternative version of the sequence of events that has led Nameless to his palace. It is in reply to this version that Nameless introduces the central issue.
It appears that a previous assault on the palace by Flying Snow and Broken Sword was unsuccessful because of the deliberate refusal of Broken Sword to kill the king when he was in the position to do so. Indeed Broken Sword has withdrawn from the plan to murder the King, which is a bone of contention with his partner Flying Snow who is still very much committed to the cause. Broken Sword introduces a dilemma in the story: to kill the king or not to kill the king. We learn that he has transcended that dilemma by a long training in the art of calligraphy.
Central in the movie is the insight that mastery of the sword can be practiced at three levels: the mastery of sword in the hand (allowing you to unfailingly kill your opponent from ten paces), the mastery of sword in the heart (allowing to kill your opponent with bare hands from 100 paces) and the mastery of sword neither in hand nor heart (which transcends the act of direct killing and conflict by a vision of peace and mercy).
Broken Sword is someone who has mastered that highest level. He now sees that sparing the life of the king will at some point lead to a unification of an empire and enduring peace for all. This is a resolution of the dilemma - to kill or not to kill - at a higher level of wisdom. Confronted with Nameless's determination to kill the king, Broken Sword cannot but transfer the dilemma to Nameless. The doubt "to kill or not to kill" indeed settles in Nameless who is still vacillating when he is standing before the king. The latter recognises this and increases the pointedness of the dilemma by offering Nameless his own sword to kill him. Nameless has to resolve the dilemma there and then. Eventually he decides not to kill.
By doing so he transfers the dilemma to the king who now has to decide whether to have his attacker executed or not. He decides to have him killed. That is a very conscious choice. As an individual human being the king has enormous respect for Nameless leap to the highest level of sword mastery (which is why the latter is given the burial of a hero) but as a ruler he has to respect the integrity of the law and the trespasser has to be killed. The law is not able to transcend the dilemma. It is not able to accommodate the everlasting tension between the two horns of the dilemma. That is a deeply philosophical assertion about the nature of institutionalised power and the Law.
There is an interesting corollary to this movie. Flying Snow and Broken Sword embody the two horns of the dilemma: to kill vs not to kill. They are waiting for news from Nameless's mission: a red flag for a successful kill, a yellow flag for a failure. When the yellow flag appears, Flying Snow is enraged. She understands that this can only be because Broken Snow's councel has led Nameless to consciously forsake his mission. Broken Sword tries to persuade Flying Snow of his point of view but he can't bring her to consider the dilemma, let alone to transcend it at the higher level of wisdom he has gained. Reluctantly he fights with Flying Snow. From Broken Sword's vantage point the fight is utterly pointless. It draws him again in a quandary he has left behind him a long time ago. At a certain point he just drops his sword, a split second before Flying Snow will hit him with her sword. That split second embodies the desperate trust of Broken Sword in Flying Snow's ability to recognise and transcend the dilemma. Either she does in that split second or she never will. She fails and she kills him. After his death she decides to kill herself.
Zhang Yimou tells this magnificent foundational myth in the most splendid and virtuosic fashion. The images are poetic, suggestive and precise. Nothing is gratuitous, everything assumes significance. This is great, timeless cinema.
Movie Review: Magnificent - our land
Summary: 5 Stars
I was mesmerized through the entire film. It is one of the most beautifully filmed, scripted and acted piece of artwork I have ever seen.
It is different and predictably not everyone liked it but I thought that it was brilliant.
Jet Li stars as the Namesless Hero who in service to his King killed the three assasins: Sky, Flying Snow and Master Broken Sword, who had been attempted to kill the King of Qin; revenge for his soldiers killing their families in the Kings quest to unify the seven warring states of ancient China.
This is a typical Chinese legend told in beautiful Chinese style. I have loved the old Chinese legends from my experience with the martial arts and felt very "connected" to the characters.
It is timeless epic of love, honor, duty, sacrifice, loyalty and revenge told with the most beautiful cinematography I have ever seen. Better even in that regard the the Last Samurai ( another brilliant piece of art)
The movie is essentially a series of re-tellings of events surrounding Namesless' quest to kill the assaisins, Nameless telling his version of the killing of the assasins for the kings benefit. The king being paranoid about the attempts on his life requires Nameless to initially drink and speak from 100 paces. As the story is told the king permits Nameless to advance closer and closer.
Probably due to my familiarity with Chinese legends I knew what was coming, but others who watched it with me never guessed until it was tacitly revealed by the King and Nameless.
The directing, acting fight choreography and script were beautiful beyond my abilty to describe. There is more than one version of events told and as each is revealed the whole truth finally comes out.
It is not necessary to agree or disagree with the "message" that unification of the warring states but the end result is based on historical fact of the beginning of the unification and China's first Dynasty.
This movie gave me goosebumps.
Buy this movie and enjoy it over and over.
Watch it in Madarin once without the subtitles. It is a spiritual experience in its native language. The subtitles distract you fomr seeing all the fine nuances of the actors faces and motions as well as the extraordinary scenery.
One note about the wire stunts. These stunts are popular in Chinese films and do add a ballet-like flair to the sword fighting scenes. Many in the US seem to be down on the "flying" of the fighters saying it is over the top and makes the scenes look silly.
I come here to defend the flying on several counts. First, who are we to say that it is impossible? Because we can't do it or understand it? If that is the standard then the "impossible" is done every day of our lives. How many things that we have always said was impossible turn out to be very possible and maybe even simple? Think about that.
Also - if anyone is familar with the ancient "kungs" they are themselves almost unbelievable yet many of the masters have demonstrated accomplishment in these kungs that defy modern scientific explanation. Jumping, iron broom, basket and red sand kungs are still being performed today in parts of China and can be witnessed.
China has a long history of learning and knowledge. The Chinese were making wine in 7,000 BC! The Chinese had thousands of years to practice and study and perfect these kungs. In some cases there were a hundred generations of masters who practiced a single kung their entire lives and did nothing but that! You don't do anything for that long unless you have results.
Think of acupuncture as one example. Previously dismissed as "voodoo" by western medicine yet the Chinese have been practicing it for 4000 years! Who would do something for 4000 years if it didn't work? Now acupuncture is done is frequently western medicine. They still can't explain it but they have to admit that it works.
I think it is very presumnptuos to think that we educated and "modern" westerners know it all and can so easily pronounce things as being impossible, especially things from such an ancient civilization. The Chinese were writing, learning and exploring their world ( and space ) when we Eurpoeans were still living in trees and hitting each other with clubs. Folks, we don't know it all.
I have seen myself red sand kung, jumping and wall climbing kungs. I have seen a master of basket kung walk along the edge of a wicker basket so soft and light I could move it with a breath yet I saw master balance and run along the edge without distorting the weave. There was no trick.I saw with my own eyes the red sand kung and it was not a trick.
Simple jumping like these scenes depicted. I can give it the benefit of the doubt. Not only that they lend a beauty to the scenes that is stunning in its impact.
This movie is a masterpiece. Buy it and enjoy it.
Movie Review: TOO DERIVATIVE OF KURASOWA BUT WHAT'S WRONG WITH THAT?!!
Summary: 5 Stars
The heavy rain flowing off the temple rooftops is straight from Rashamon, as is the repeated flashbacks of people who supposedly already died under other and more glorious circumstances. Each retelling of various aspects and events in the story reflects the storyteller, very intensely, and the storyteller's purpose and perspective and tone and audience, and so some viewers grow confused without repeated viewings, to separate pure fictional recounting from actual events, if there actually are any. Rather they seem regional variant recountings of one ancient legend.
The heavily flying arrows are very reminiscent of Kurasowa's finale to Throne of Blood, including their filling the palace wall. The temples may remind one of Ran. But such allusiveness only enhances the post-modernist nature of this peace narrative.
But hey, what's wrong with that? What's wrong with parodying perfection, and taking the new technological steps one further, and more? What's wrong with women warriors who explicitly claim an ethical life, free of
passion and emotion (and thus the king saw through the Nameless one's deceptive cover story of jealous rage), in which they are achingly shocked and awed to discover their elaborate and exquisite ritual dance
swordplay might actually accidentally and unintentionally draw blood and cause tragic death bringing themselves deep and abiding sorrow?
Basically the intent is to recount the uniting of ancient China under one empire called "Our Earth" in order to bring peace and stbility to the land. The fascist and technologically advanced armies are truly
frightening, as they scream in unison without individual thought, reminding one of the rows at the rallies in Nuhremberg, better than Hopkins armies in Titus, and thus one cannot help but hope for the
ultimate victory of the independent artist warriors defending their individual homelands from violent incorporation into this first empire. But their true victory lies not in killing but in nonviolent submission for the sake of peace, having demonstrated the superiority of their individual art. Stable society cannot grow from constant warfare, as we see in Iraq, but from cooperation and compassion and in peace. And thus the true hero of this movie perceives what is necessary for establishment of peace, the cessation of fighting and the ultimate self-sacrifice. This lesson he passes to his companions who reluctantly come to his enlightenment and join him.
Never mind the strong cinematic derivation from Kurasowa, the exquisite artistry in costume, settings and choreography, the excellent acting and compelling characters, for this lesson alone, that peace comes when fighting ceases, and society cannot come together in cooperation until individual battle stops for good.
Very directly, in symbol, allegory, and fact, this movie demonstrates that not only is the pen mightier than the sword, but the pen IS the sword.
This film is actually quite post-modernist in its narrative technique of subjective viewpoints, unreliable narrators, including purposefully
deceptive, which we do not realize until after the narration, as well as its questioning the ethics of the state and established religion, declaring the ethical life of the outsider and the rights of the alienated individual, its use of negative references including the hollow spot along the prickly wall where the arrows entered the unseen hero's body at the end, etc., as contrasted to the closely observed piercing of the hero in Kurasawa's Throne of Blood. Here we do not see the hero wounded and slain, but only the hollow spot where he once stood.
How rare therefore to find a film which demands your post-modernist reading after we have grown dull by being brutally struck in the face with so many direct comic book level literal cinematic narratives. What a
great and rich joy and food for thought.
My only objection might be the fiddling by Itzak Perlman, who is a technical master of his instrument, but seemed at times distractingly inappropriate to the events. I did find the ancient blind musician playing
his traditional dulcimer while the two warriors DREAMED their battle to be very effective.
Excellent movie, which I saw with Spanish subtitles and dubbing on the small screen, but even so I find it very compelling and worthy of another view or two.
Peace cannot come until war stops. Stop killing. Let us have peace. The lesson of this film is that militarism can never succeed, but only peaceful cooperation in community, which ultimately is also the lesson of Kurasowa's Seven Samurai.
Movie Review: Extraordinary
Summary: 5 Stars
Well, this is one of those movies where everyone who gives it a positive review is bound to say exactly the same thing, but I'll go ahead and review it anyway. Simply put, this is the most visually striking film I've ever seen with some astounding action scenes, while still having an interesting plot and strong emotional impact. That is about as strong of an endorsement as I can imagine.
Despite it's various points of interest, the visual splendor of the film is certainly the most impressive aspect. As I said before, this is the most beautiful film I've ever seen. Frankly, little I can think of comes at all close. Visually, it works on all levels. It has stunning, varied landscapes ranging from snowy mountains to forests in autumn to desolate, rocky steppes and great deserts filled with sand dunes. Personally, I seem have less appreciation for natural landscapes than most, yet every outdoor landscape in this film is awe-inspiringly beautiful. The costumes are outstanding as well, with deep, pure colors. Beyond this, the film uses color beautifully in general, with most scenes having a dominant color in character and landscape, which changes from Red to Blue to Green to White and so on. This use of color also fills the film with an appropriate sense of surreality, befitting the supernatural and occasionally parable-esque nature of the film. The film also contains the strange beauties of military formations. There are awe-inspiring shots of the endless ranks with their fluid symmetries, scenes of cavalry riding through the windswept desert and the frightful volleys of arrows. Despite not being a war movie this has the finest visualization of ground forces that I've ever seen, surpassing even the extraordinary The Thin Red Line. (In terms of aesthetic beauty, not realism, of course) Naturally, this is all beautifully shot, with tons of extreme longshots, which wonderfully showcase the beauty of both the human and inhuman portions of the scene. On top of this, the action scenes are fantastic. Personally, I consider the fight between Nameless and Sky at the beginning of the film to be one of the finest 1 on 1 fights I've ever seen. The fight between Moon and Flying Snow in the leaf strewn forest is also particularly extraordinary, albeit more for the scenery than for the fight choreography. The only minor misstep is the fight at the lake in the mountains, which is fine except that it repeats itself a bit too much. There are many who are opposed to wire-work and the use of CG and whatnot, and those sorts will likely have issues with the fights found here. Indeed, the action scenes here are usually as much art film as they are action film, and most of them are so wildly stylized that purists won't care for them. So consider yourself warned, not that you needed to be had you seen any ads for the film. I suppose I could go on and on about how this film looks, but I could never hope to give you a true sense of how fantastic this film looks. Just see it yourself.
Unlike many films with such an emphasis on visuals and action-scenes, this film has interesting characters and a well developed plot. I could go into specifics, but suffice to say that it managed to retain hold my interest from beginning to end, the ending of the film is genuinely sad, and every significant character in the film is sympathetic in their own way, even though they may be at odds with one another. This is as much as you could ask for from a purely dramatic film, much less a martial arts film. Some people have found this film a bit confusing, as it is primarily told via flashbacks, which may or may not have actually occurred. Personally, I wasn't confused, and at worst you will likely be lost only briefly if ever. And the plot isn't the main interest in the film anyway.
Some have complained of the pro-communist elements of this film, but I can honestly say as one who strongly opposes communism both as it exists hypothetically and practically that this doesn't bother me at all. Most significantly, it is mainly implicitly pro-communist, in that it is patriotic and pro-China as an idea rather than specifically supporting the communist government. Beyond, little that is in the film specifically applies to communism in a way that wouldn't apply to most other societies. At it's heart, it simply promotes peace and self-sacrifice for the common good, both of which are valued in pretty much all societies, and are qualities which I can readily support.
Well, that's it. This is one of the finest films I've ever seen, so you ought to go see it.
Movie Review: A Genuine Masterpiece. Not Only for Martial Arts Fans.
Summary: 5 Stars
I came to "Hero" expecting to see a critically acclaimed martial arts film. My attitude toward martial arts films might best be described as indifferent. I like some of them, but I'm not an enthusiastic fan. I only had to see the first few minutes of "Hero" to know that it was something special, though. The art direction and cinematography are so striking in the opening scene that I consciously thought that this film would be worth watching whether or not the story, characters, or fight sequences interested me. By the first sword fight, I was entranced by the film's beauty. When I saw the red and orange hues that followed, I thought "Hero" might be the most beautiful motion picture I have ever seen. And that was only the beginning. Director Zhang Yimou is one of the best directors in the world today...at making emotionally incisive, understated dramas. "Hero" is Zhang's first action film and, I think, his masterpiece. His characteristic depth and social insight are combined with the energy, history, and flexibility of the martial arts genre in "Hero". The result is larger than life story and characters in a film of uncommon beauty. Zhang has said that the audience will remember the images of "Hero" even if we forget the story. To say that he is right would be understating "Hero"'s visual impact. This may be the most beautiful film ever made, thanks in no small part to cinematography by Christopher Doyle and art direction by Huo Ting Xiao.
"Hero" is a fable that takes place two millennia ago, during the era of warring states just before China was unified under its first Emperor. Qin is one of China's 7 states, and its King's sole ambition is to unite China under one rule. The Qin army's constant attacks on the 6 other kingdoms have made the King many enemies, however. Three assassins from Zhao have harassed the King for a decade, and he has promised riches and an audience to whomever defeats them. The reward is claimed by a Nameless (Jet Li) prefect, who arrives at the Court for his audience with the King. The King asks Nameless how he defeated the 3 great assassins: Sky, Flying Snow, and Broken Sword. So Nameless begins to tell the story of his battle with Sky (Donnie Yen), who visited his district, and his clever manipulation of Snow (Maggie Cheung Man-Yuk) and Broken Sword (Tony Leung Chiu-Wai) at the calligraphy school where they both studied.
Many of "Hero"'s scenes have prominent color elements -red, blue, white, or green- depending on who is telling the story and why. The cinematography has to be seen to be believed. The fight sequences were choreographed by Hong Kong action director Tony Ching Siu-Tung. And martial arts fans will be pleased to see Jet Li and Donnie Yen reunited onscreen. The sword fighting sequences don't propel the story, however. They are well-integrated with the narrative and character development. And like everything else in "Hero", they are absolutely beautiful. You don't have to care for action or martial arts movies to enjoy "Hero". This is just a great film by any standard. 2000's "Crouching Tiger, Hidden Dragon" was the first Asian film to find a wide American audience. Its US box office was more than twice that of "Hero". I attribute that to hype. "Crouching Tiger" is a good genre film, but "Hero" is far superior. If you liked "Crouching Tiger, Hidden Dragon", you'll love "Hero". If you were underwhelmed by "Crouching Tiger", you'll be overwhelmed by this film. Congratulations to Zhang Yimou for making a masterpiece that will be praised for generations. Don't be put off if you don't normally like martial arts movies. This is a sweeping drama that is punctuated by action. See "Hero" on the biggest screen you can find.
The DVD: Bonus features include a making-of documentary, storyboards, an interview with Jet Li, and a soundtrack spot. "Hero Defined" (23 minutes) is alternately narrated and subtitled in English. It follows "Hero" from pre-production through some of its 6-month shoot and includes interviews with director Zhang Yimou and the film's cast. I recommend it for Zhang's comments. "Storyboards" shows the storyboards for 4 action scenes next to the finished scene as it plays out. In "Inside the Action: A Conversation with Quentin Tarantino & Jet Li" (14 minutes), Tarantino interviews Jet Li about his career and martial arts in the movies. Subtitles for the film are available in English and Spanish. Captioning is available in English. Dubbing is available in English and French.