Okay, so now that we’ve got that windbag blog title out of the way (how did I do, folks?), let’s get down to the brass tacks of the matter: the iconic and often-imitated-rarely-duplicated cinematographic marvel which was once Zhang Yimou’s Hero/Ying xiong, the 2004 swashbuckling flicker picture that dazzled and titillated, yet somehow didn’t intellectually connect.

So I thought it would be fun today to guzzle a couple of espressos in very rapid succession, munch on a too small to sate a midget (and fresh!) morning croissant, washing it all down with some sparkling water (now who doesn’t like seltzer?) and revisit Hero, half a decade after its release to the North American cinema-going public.

Let’s look at it as a sort of overall case study into what continues to hobble the limping Chinese big RMB cinema scene, writ-large, and why the PRC persists in meekly leveraging its native film stars and movie-shucking talent that it could otherwise use to positively project itself onto the global consciousness and hone a more likeable image for itself internationally, if it even cares to do so.

What’s Hero About, You Ask?

Okay, here’s your quick primer (sans spoilers) for those who haven’t yet caught it: The story takes place during China’s Warring States Period prior to the consolidation of the so-called Six Kingdoms under the Qin (pronounced “chin”) Throne, the dynasty from which China got its distinctive-sounding name for all-time. Three Zhao Kingdom assassins – Sky (Donnie Yen), Broken Sword (Tony Leung), and Flying Snow (Maggie Cheung) — are committed to slaying the Qin Monarch in cold blood, but can’t get anywhere near his heavily-fortified palace and his inner sanctum. Master Nameless, played by Jet Li, is a decorated Qin Warrior whose reputation precedes him who is committed to protecting his sovereign from these assassins’ imminent threat.

Place the four of these acrobatic wushu ass kickers in the same room, vigorously shake and stir, and observe what comes out.

There’s your movie, briefly summarized.

Feast your peeps on this 2m 48s trailer:

So What Was Wrong With Hero?

Before I begin, allow me to state I’m always very apprehensive about dishing film criticism for two main reasons: One, I’m not sufficiently qualified to supply any kind of valid criticism because I’m hardly a film scholar nor am I prolific filmmaker myself. Two, negativity after the fact only appeals to the lowest-common denominator of the mob and negativity doesn’t serve any sort of noble purpose at all other than grandstanding for the shilling critic in question. Film criticism is best served during the editing process by a committee of qualified professionals whose express purpose is to critique the rudiments of cobbling together the film’s final assembly which eventually heads off to market, and beyond the purview of what I’d really wanted to say.

Instead, I’m going to frame my remarks in terms of ways this truly attractive film could have been much better:

• why is it that Chinese filmgoers don’t demand plot complexity from their genre pics and show their displeasure by voting with their feet? I mean, I get it. Hero falls comfortably within the Kung Fu/Swordplay/Asian genre and filmmaker Zhang and his producing colleagues were well-aware of this by supplying the cream of the genre’s essentials. Without at least these, Hero didn’t have a living breathing chance to — at the very least — earn back its dense budget and no Chinese filmmaker is going to commit career suicide, especially in a “culturally-harmonized” China. But story was lacking here, folks. Without giving away too much away, there were several beats in this limpid tale where things could have taken a decisive turn for the compelling, and Zhang et al. instead opted for more of the robe-spinning, metal-gleaming, sword-clanging, safety-rope dangling type of staple action we’re accustomed to from films of this ilk. As I watched, I kept thinking to myself: “Yes, Hero, I like you. But do you have to go on this long?! How many tip dips of Broken Sword and Namesless’ weapons into Hangzhou’s West Lake do I need to see before I understand that it’s physically possible for them to float across the water’s surface in your fictionalized world?” From a certain perspective, this was audience pandering of the lowest kind – to the Chinese/Taiwanese/Singaporean/Malaysian/Hong Kong-ese audience, that is – and there could have been a much-cleverer handling of this.
• fight choreography was sensational, but the film’s battle sequences could have been trimmed considerably, greatly reducing Hero’s overall runtime: As I’d said, like anyone I enjoy watching Jet Li apply the massive clobber-on to the best of the baddies, whether he plays hero or goon. But a director should know when to just say when. Having said that, I suppose I should stop myself for a moment: I suppose if the production team is going to haul out the heavy rigs and all that safety gear to remote Gansu province or to the banks of the West Lake in Hangzhou, then they’ve got to dump at least a week or more into the shooting. Again, those usual money imperatives trump the story here, which is another defining characteristic of Asian cinema; which, if you ask me, is what hobbles it in Western markets (outside of the aficionado set, naturally, who will like anything you serve up).
• why didn’t Zhang diversify Hero’s cast? This is where I experienced a sudden deep appreciation for director Jacob Cheung’s casting vision in Battle of the Warriors/Mo gong, a picture I blogged about earlier here. The inclusion of Shaan Price in the script as the African slave in that story was a positive stroke of genius and perhaps a herald of things to come in Chinese cinema (?). In Battle, Price plays a tunnel-digging slave of the invading Zhao who befriends protagonist Andy Lau’s Ge Li and who subsequently develops a strong bond with Lau towards the end of the film. Historically-speaking, on the precipice of the Qin overtaking the Six Kingdoms and asserting its unrivaled dominance across the then-known Chinese territory (and beyond), there must have been plenty of “foreigners” residing on the Chinese landmass at the time, no? Any savvy historians out there? So why didn’t Zhang insinuate more of these into the story? I already know the answer: because Chinese audiences would have hated it.

What Was So Phenomenal About Hero?

Having said nearly everything above, I admit there was so much to admire about this movie. Enough that it had me almost bolted to my seat during its entire runtime and I’ll list the reasons now:

• fight choreography: Enough said. The grueling take-after take drudgery of getting that high fight note “just right” on the part of all the actors concerned – with due assistance from the truly lovely Beijing-born Zhang Ziyi (or as she prefers to be addressed these days in Hollywood, Ziyi Zhang) who is hitched to my man Vivi Nevo – is a dedication beyond comprehension to most of the mollycoddled (thanks for teaching me that word Bey!) Western acting set, even in Western-themed shitkicking flicks. The fight stuff almost places you into a trance. I know it does me.
• locations: China has such fetching locations across its masive expanse it’s a wonder why the authorities don’t build even more studio facilities in the more remote parts of the PRC! Think about the number of local jobs it might stimulate and the potentially increased Chinese film output and revenue it might stimulate, or the nation’s ability to invite foreign film crews to shoot their own features? I know two reasons why this might not happen anytime soon or ever: 1) China doesn’t want foreign film crews penetrating its more remote – and permanently restricted to foreigners — Western regions for all obvious and mysterious reasons. 2) It’s a potentially money-losing sinkhole for China should something happen to tarnish or otherwise mar the nation’s international image (very likely post-COP15 and considering the whole North Korean thing). The existing facilities near Beijing are just fine thank you very much, MoC (Ministry of Culture) mandarins might decry.
• music: Cue up the trailer and have a listen to that intoxicating movie score. Does that not put you into a funny mood? I know it did to me and kudos to specialist Tan Dun for mixing it all together. To all aspiring filmmakers: never underestimate the power of music and how it indelibly imprints itself onto the psyche of your audience! It’s something which penetrates so deeply that I have a difficult time even expressing these words.
• cinematography: Hero had long-time (and zany!) Hong Kong resident Christopher Doyle’s ethereal “floaty” paw prints all over this puppy! If you’ve ever seen any of Wong Kar Wai’s stuff or any of the other films in our man Doyle’s extensive filmography, then you’ll know what I’m talking about. Watch 2046 as a representative example.

How Do I Feel After Revisiting Hero?

Well, I feel fantastic, thanks for asking.

But, seriously, perhaps the better question to ask – much as I’d enjoy the chinwag – would be:

Has Hero withstood the test of time? Is Hero one of the decade’s better-known and loved films?

While I indeed have an opinion, I’ll defer to the market and the opinions and oft-quoted references of the Asian cinematic experts in this case, men like Bey Logan.

Hero is still cited by him – and others — as one of those game-changing films which pushed the envelope on a number of filmic fronts: fight choreography, use of vivid color, set design, stunts, and, moreover, exquisite locations. Leaving it out of a dinner conversation on comparative Chinese cinema would be just plain, er…gauche.

My Humble Advice to Cineastes:

if you haven’t yet seen it, it’s definitely worth the couple of hours it’ll get you away from your Facebook account. And if you already have, well then perhaps it’s time to rent it once more so you can compare it to some of the other stuff you’ve seen in the half-decade since it was released.

All in all, the best part of the picture is that you get to see Zhang Ziyi – playing Moon, pictured — do her thing once more.

And that, my friends – yummy! — is never a bad thing at all.

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