China/HK 2002
Director: Zhang Yimou
Cast: Jet Li, Tony Leung, Maggie Cheung
Score: ***

One of the most eagerly awaited martial-arts films, HERO arrives in North America first in DVD form rather than on movie theatre screens.  Miramax has picked up distribution rights and left it collecting dust on the shelves for their own selfish reasons.  Finally this April, HERO will apprear in screens across North America.

What is intriguing about HERO is the fact that it is director Zhang Yimou’s first venture into martial-arts/swordsmanship territory though the director is no stranger to the Chinese period piece having made RED SORGHUM, RAISE THE RED LANTERN and JU DOU. The meager plot, set in 3 B.C. when China was split into many kingdoms, concerns a nameless hero (Jet Li) given audience to the king (Chen Dao Ming) of the Qin Kingdom, having thwarted the previous attempts of three assassins, Sky (Donnie Yen) and lovers Broken Sword (Tony Leung) and Flying Snow (Maggie Cheung).  As Nameless relates his questionable heroic exploits, it becomes apparent that it is he that is now out to do the deed, being granted the privilege of approaching less than 100 paces from the king.  As far as Yimou’s storytelling abilities go, HERO diverts into separate segments, the number equaling the frequency of costume changes (from red, green to white and so on).

HERO is full of luscious colour, a trademark of the director, an ex-cinematographer himself, as he pushes the film to excess, thanks to Chris Doyle’s (Wong Kar-Wei’s CHUNGKING EXPRESS and Van Sant’s PSYCHO) cinematography and the award winning costumer designer Emi Wada.  This is therefore no CROUCHING TIGER, HIDDEN DRAGON.  Action and excitement are surely replaced here by movement and grace.  The fight scenes are done mostly in slow motion, from extreme attention to detail to broad spectacle like the blood that drips down from the blade of a sword to the thousands of arrows shot by the archers who storm the calligraphy school.  Yimou and scriptwriters Li Feng and Wang Bi are unashamed to douse the film with Chinese culture, so unfamiliar to western audiences. Lovers argue more about right and wrong than declare their love with sacrifice, honour and duty rising in importance over sacrifice, honour and dignity.  Even the beauty of China’s scenery is given a further lift by Doyle’s favored use of reflections.  Interiors are handsome shot as well, like the rows of candle lit flames that flicker gloriously in the palace giving the film a mythical sense.  Tan Dun’s musical score, comprising largely of violin and drums further enhances the gothic feel.

But viewers should be forewarned that story and narrative, normally strong in Yimou’s previous films are noticeably weak here, the frequent shift from action to love story being noticeably unsettling.  The ambiguous characterizations, whether intentional or not, are at times confusing because of the different segments and version of stories that unfold.  Realism is thrown out the window, the spotless costumes and the fight scenes that take place only by waterfalls, lakes or forests being cases in point.  Vengeance, a strong element in most Chinese swashbucklers is replaced here by the search for fulfillment.  The film turns out to be a little too preachy at the end.  The final result is that HERO evolves more into an opera than an action flick.  Viewers will either be amazed or disappointed depending on their expectations.  But whatever outcome, HERO is still a feast to the eyes and perhaps the prettiest film to emerge this year.

Review by Gilbert Seah.