Jet Li's Hero by Zhang Yimou

China History Retold through Philosophy of Martial Arts & Writing

Oct 27, 2009

Christopher Doyle's cinematography heightens minimalist plot, drowning individual in landscape. Stars Tony Leung, Maggie Cheung, Donnie Yen, Chen Daoming & Zhang Ziyi.

Zhang Yimou’s 2002 film Hero (Jet Li’s Hero in USA) may employ the visual resplendence of Crouching Tiger, Hidden Dragon but its core concept is an aesthetically intellectual one. 21st century films about China history conspicuously depart from Jacky Chan’s brand of Hong Kong kungfu films, which thrive on comedy. Actor Jet Li refocuses world attention on China’s historical dramas, as Jet Li is a China native who fights well. But Hero rises above wartime films like Red Cliff or The Warlords because it carries Zhang Yimou’s signature. Hero belongs to a wholly different genre of film: the philosophical. Hero calls to mind Zhang Yimou’s previous films like Raise the Red Lantern: shots framed squarely on protagonist Songlian (played by Gong Li) depict the struggle of a highly-educated China girl, trapped by marriage tradition. Similar shots are used here.

China’s Unification - Our Land

Jet Li’s Hero is summarised in two words: “Our Land” (Tian Xia). The unification of China is the main theme of Hero. In his quest to unify China, Emperor Qin (Chen Daoming) captures several states and on his wanted list are three assassins from the State of Zhao. Hero opens immediately on Emperor Qin’s court. A Nameless warrior (Jet Li) presents himself as having eliminated the three assassins. Permitted to be 100 paces from the Emperor, Nameless tells the story of how he captured assassins Sky (Donnie Yen), Broken Sword (Tony Leung Chiu Wai) and Flying Snow (Maggie Cheung). As he draws viewers into his story, he is allowed closer and closer in proximity to the Emperor, heightening tension. The turning point of the story comes when, like Akiro Kurosawa’s Rashomon, the Emperor dismisses Nameless’ story, to reveal what he believes is really the truth: that Nameless has come to assassinate the Emperor. Chen Daoming puts in a complex and superb performance as enlightened Emperor Qin.

The bareness of still shots which frame the empty palace, magnify Nameless’ proximity to the Emperor. Whilst recounting his duel with Sky, Nameless draws parallels between swordplay, music and calligraphy. Unification, simplification of each art allows it to reach greater heights. Zhang Yimou’s direction clings unwaveringly to this idea, by fixing the camera on a central point: Nameless walks towards the Emperor; arrowheads shoot towards the calligraphy school; Broken Sword concentrates on his Chinese character, not the war outside; and a sword pierces and explodes a brush.

Pointed detail is arresting, when set against broad canvasses of unified colour. Christopher Doyle’s cinematography brings to life the poetry of Zhang Yimou’s concept. Each retelling of the story takes on new colour. Are Broken Sword and Flying Snow lovers (red), cool-headed (blue) or have no emotion (white)? Tony Leung and Maggie Cheung’s stylistic performances enhance the movie's sensuousness, with Zhang Ziyi adding fat to fire. Viewers may tire of these retellings but re-interpretation, like the act of recording history, alters depending on the teller. Thus kungfu action is kept minimal, to focus on the story.

The adrenaline fight comes early, yet the poetic fight is last – a stunning battle at the pavilion where Flying Snow lies. True to Zhang Yimou’s concept, these two fight sequences are played out in the mind. Minimal sounds like raindrops emphasise bare shots. Suitably, the ending is a mental, not physical showdown between Nameless and Emperor. Nameless is a representation for thousands who died for one cause – to be united as one people. Visually, the movie ends on an impressive spectacle of arrows outlining one Nameless man: the unsung hero.

The copyright of the article Jet Li's Hero by Zhang Yimou in Asian Films is owned by Lynette S.K. Webster. Permission to republish Jet Li's Hero by Zhang Yimou in print or online must be granted by the author in writing.