Hero
review by Jeffrey Overstreet | posted 8/20/2004
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The Grand Canyon. The Northern Lights. Van Gogh's sunflowers. We've all been stricken speechless by vivid displays of color. For me, there's the Georgia O'Keefe museum in Santa Fe, New Mexico; the shimmering metallic blue of Pacific Ocean waves at twilight; the day I discovered first-hand that ladybugs sometimes hibernate on mountaintops, clustered together in masses, blood red against white snow (hard to believe, but true).
To that list of awe-inspiring and vividly colorful experiences, I'd have to add the first time I saw Zhang Yimou's Hero on the big screen.
It's strange to consult a thesaurus for words that mean "beautiful" while I'm writing a review of a martial arts epic. But that's what Hero does to its audience. The gravity-defying duels between swordsmen are some of the most spectacular you'll ever see. An all-star team of China's most talented screen actors delivers performances of astounding physical skill and delicate emotion. Adventures, debates, epic battles, and revenge quests weave together into a complex tapestry. And the soundtrack by Tan Dun (Crouching Tiger, Hidden Dragon) is lush and stirring. But those colors …
Broken Sword (Tony Leung Chiu Wai) and Flying Snow (Maggie Cheung)
Sometimes, we miss out on the best films merely because they're "foreign." Hero sat neglected on the shelf at Miramax for two years while gaining popularity in China and with fans of Hong Kong cinema who got hold of import DVDs. Those responsible for stalling it should be rounded up and fired. It won an Oscar nomination in 2003 while still unreleased in the States, but the Academy voters who didn't give it a fair shake should be ashamed of themselves. If you miss seeing Hero on the big screen, you have missed one of the peaks of cinematic spectacle-on par with 2001: A Space Odyssey, Star Wars, Apocalypse Now, and The Lord of the Rings trilogy.
Perhaps political bias stifled the film's exhibition. Hero is one of those rare works of art that serves both as an intimate character drama and as a national myth. While Zhang Yimou was not commissioned to make Hero by the Chinese government, the movie would have made such an investment worth every penny. It is surpassingly excellent in every technical category. But there have been murmurs of discontent in China over whether or not the director is paying homage to Chinese Imperialism. And indeed he does portray a tyrannical king as wise and conscientious. But he also offers devastating displays of destruction unleashed by that same conqueror. The conflicts occur between the "warring states" of China, circa 220 B.C. Aiming to become emperor, the King of the country of Qin, Chin Shi Huang Di (played with authority by Chen Dao Ming), crushes the cultures of six opposing regions to gain supremacy.
The colors and scenery are spectacular throughout
This portrayal of violence and brutality runs counter to a wholesale endorsement of imperialism. Hero is about the way that the spread of an empire can all too easily devalue and destroy the valuable distinctions defined by the language, personality, and artistry of differing cultures. In direct contrast to the film's colorful characters, the King's armies drain color from the screen. They're like minions of Tolkien's orcs—dark and cold—and the King oversees this like a contemplative spider at the center of a web, where he too is haunted by the cost of his campaign.
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