It's a beautiful film with a detective fleur. A lot of scenes from Chinese martial arts on swords. The plot is built on the principle: not everything is as it seems.
Third century BC. China, as we know it, does not yet exist. On its territory there are more than a hundred principalities, from quite large to quite small, which constantly clarify relations between themselves. This time is called the Warring States era. By 221 BC, a ruler of the Qin kingdom named Ying Zheng (later called Qin Shi Huang and known by that name) had united the disparate principalities by fire and sword and created the first centralized Chinese state in history. The action of the film takes place a little earlier than this time, when Ying Zheng already owns the Qin kingdom, but is yet to seize the other major principalities to unite the country.
The main character of the film is Unnamed, as he calls himself. This warrior destroyed three of the most skillful and famous enemies of the Qin kingdom, who in the past had already attempted the life of Ying Zhen and for whose heads a huge reward was announced. At the beginning of the film, the Nameless arrives at the court of the ruler and tells how he was able to defeat his enemies. However, the astute Ying Zheng understands that perhaps this is a lie used to get as close to him as possible and make another attempt on his life.
Director Zhang Yimou put together all the best (starting with himself) to create this historical picture. The plot deals with one of the most important milestones in the history of China and the very first true Chinese emperor. For the Chinese people, this is about as important as for us the history of the baptism and unification of Russia by Prince Vladimir. The music for the film was written by Tan Dun, who previously received an Oscar for best soundtrack to “Crouching Tiger, Hidden Dragon.”
Starring all the color of the acting workshop of China at the beginning of zero, except Chow Yun-Fat and Jackie Chan. Starring Jet Lee, the others are Tony Leung Chu Wai (Love Mood, Chungking Express), the beautiful Maggie Chun (Love Mood, Police Story 1-2) who struck me at the heart in Until Tears Dry, Zhang Ziii (Crouching Tiger, Hidden Dragon, House of Flying Daggers) and Donnie Yeo (movies about Ip Man). Also, all the power of visual special effects available at the time and almost 20,000 troops for battle scenes of the level of Kurosawa were involved in the assistance.
The result was a picture of incredible entertainment, which, despite the almost continuous makhach, looks beautiful, has an intriguing plot, a love line, a simple drama and an unbanal ending. And all this is competently packaged in an hour and a half of screen time (a thick hint to all lovers to stretch the fight for 2.5 hours). Yes, you can arise on the topic that these fights are unrealistic, what is it about jumping on water and running through the air? A man cannot cut twenty mats while the cup falls! However, you need to remember what time period we are talking about. Events occur before our era, I repeat. Think of it as an old legend. You do not have bombs, I hope, from Ilya Muromets and Dobrynya Nikitich, who pulled out oak roots and beat them on the head of the Pechenegs? “There were people in our time, not like the current tribe.”
Even now, history buffs can shake up and say, “Who is he, this screen Qin Shi Huang?” What is this romanticized image of someone who flooded the country with blood and did all kinds of oprichnina? On the one hand, they are right, on the other, it is not our business, let the Chinese decide for themselves whether they like him or not, and on the third, despite the ongoing terror, this man really united the country, carried out many reforms, began to build the Great Wall of China and launched many more large projects that partially destroyed the country back after his death, but the beginning was laid and it is pointless to deny it. We are actually talking about the cinema, not about historical chronicles, and in the cinema, the author has the right to anything he wants, within the framework of the criminal code. So beautiful, spectacular, large-scale, the ending to tears, and break spears for the truthfulness of the plot will leave historians.
An amazing picture that cannot be fully understood in translation. Because the real complexity here arises not only with the help of color change, fascinating views of inner China with Alashan, symbolism or impossible poetry of battles. This poetry is serious. For some reason I even wanted to get the old collection “Poetry of the Tang Age” from the far shelf and re-read it all night long.
You need to be able to think with the images of Chinese culture that the language gives rise to. Then it becomes clear that “Everything under heaven” is not just about China and sacrificing oneself to common ideals. Although there is an element of correspondence polemics with Dostoevsky. The happiness of one man is worth the harmony of millions. This is postulated as a given. But this philosophy is not only about the ethics of duty to the state, but also a certain aesthetic experience. Not just what you die for. But how to live. And this deep Confucian reasoning is unique for world cinema. I think that in the national Chinese it is quite rare and irreducible to simple agitation.
But even without these considerations in mind, this movie is just interesting to watch. It is well written and technical. The actors and the music are very shameful. The tape keeps in mind when you need to cause tears. In general, definitely to watch.
There's one here who used to say in the star saga, "The power flows in me, and I'm one with the power."
In me, too, flows the power of my God, who crushes all my enemies: demons, Satan and the dusty. In this film, people seem to have many enemies. Needless to say, a person sometimes does not even need a reason to damage. The insatiable thirst for power, money, gold, girls, land, foreign land, etc. will do everything, gives rise to hatred for those who are in your way.
I love the Soviet Union for its desire to level everyone and everything so that someone does not have more money, more power, cars, palaces, yachts, etc. - that is, to calm the envy and lust for the riches of others. Although within this world such a task is impossible in principle, since evil already smolders in the heart of a person from birth (that is, the secret knowledge of good and evil, which is explained in detail in the Bible from the very beginning).
I don't like the United States because of its capitalism and its form of Roman democracy. First, capitalism inherently encourages envy, although it encourages people to work harder to get what they want, it enslaves them. Secondly, Roman democracy always ends in dictatorship – Americans today, using force, including economic, dictate their will not only to the surrounding countries, but also to countries far beyond the ocean. But according to American technologies and patterns, they shoot all the masterpieces of world cinematography. Needless to say, capitalism is ruling everywhere now, even in Mother Russia - if it is not well.
I love China, although I do not care about it (it is far from me, but I was there once in real life, and not on YouTube videos - although the video is much more you can see and learn, and walk for a long time in other countries and places I am now not off my feet). A wonderful country, where there are many openly poor people, is purely “Socialism painted somewhere on paper and in some government buildings” (you don’t even notice it when you travel to cities and other places, you don’t feel it anywhere at all), but in fact capitalism rules everywhere. By the way, one of the few countries in the world where corrupt officials fatally er... fight them, in short, in the most radical way (just like in the USSR in the early stages), but this does not help - they steal in a black way, just like in the post-Soviet space.
Our film is about the birth of China as a common nation, one country, and so on. Well, I'm not interested at all. There are so many countries in the world, and so many in history: you can almost endlessly study all this, stuff information into the halls of reason. It's better to watch the show right now. The scale is, there are interesting fights (purely in oriental style, entertaining choreography), the picture really seems monochrome, although there are many colors in it. It's the old film, is it a special effect?
Actually, it's creepy. The larger the country, the more blood had to be shed, the more enemies internal and external to unite it. And how much more needed to be done to consolidate the bloody success. The ruler is important, of course. And he must rule.
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Our film is not very catchy with the plot. So I watch the line along the way, not understanding what the film is about. He's kind of theatrical, detached from reality. This is like the speeches of the leaders in the late Soviet era, etc. – no one really understood what they were saying and to whom. But it's on a scale. If you don’t watch a movie on a national scale or a government, a ruler, but narrow it down to separate scenes with fights, attacks on someone, walks among the corridors of Chinese dwellings, etc. – this visual can still be appreciated ... it’s like walking on YouTube, where the authors with a camera just silently walk around different places ... and you just look without words, catch individual sounds, enjoy different natural and urban landscapes.
Otherwise, this is some kind of protracted fighting simulator like Mortal Kombat or something... here, in violation of all the laws of physics ("in the palaces of the mind," as one hero says), people easily fly several times higher than their height ... vertically, horizontally, at an angle ... command the wind and what else, run on water (Jesus walked, they ran straight like deer ... deer on the water). Almost fantasy. There's a lot of this almost fantasy stuff, although this movie is not fantasy, but more like a fairy tale. I don’t usually watch this, just on the poster from the recommendation tape for viewing on the main page of the KP I saw a dude from Star Wars, although still young. A funny fact, by the way, yesterday on the main page in the online I saw: federal channels are available on the PC even without a subscription.
For lovers of beauty in waving swords. There is beauty in the genres of martial arts. And the creators of "Hero" squeezed everything they could to bring it to the screen. The film exists as a picture and for the sake of the picture. The picture is accompanied by great music. Visually, the movie is great. The plot, of course, absolutely insane. The main idea he does not reveal, although he tries. Heroes (and thus viewers) come to the conclusion that imperial Chinese nationalism is necessary and justified. All those old bowel releases and the arrival of an arrow in the eye - lousy, of course. But it is necessary for China to be big and united. It's impossible to take this seriously. It is better not to delve into the plot at all. Perhaps without this money to shoot the creators could not get.
Zhang Yimou’s film exists simultaneously in two dimensions: aesthetic and political. As a work of art, it is a real masterpiece. The global scale of events (both in the historical and literal physical sense), symmetry and depth of the frame, often achieved due to the extended empty space (for example, the sky or the desert), bright colors of characters and entourage, majestic and silent beauty of landscapes (mountains, lake, desert, clouds), well-chosen angles - all these means of film language are skillfully used by the director, embodied in a beautiful harmonious film. There is no gap between the human and the natural. On the contrary, nature is a continuation of the world of people: at the death of the character, the leaf falls are painted in blood-red colors, the vibration of the flames of candles reflects the contradictory impulses of the hero’s spirit, the wind becomes the embodiment of the will of warriors. The characters transcend not only space (rising above the physical laws of nature), but also time. Everything important happens in the frozen moments: until a strand of hair, a drop of blood or rain falls.
A hero is first and foremost a fighter. Fights are given a central place in the narrative. Characteristically, military skill is identified with music and calligraphy – all these forms of art are essentially reduced to achieving a “higher state”. The supernatural equilibrism of fighters, which is a flight of imagination, an unrestrained riot of colors, emphasized symbolism and convention of what is happening - these are the artistic features of the "Hero". It is no exaggeration to say that this is a very poetic film.
Ideology
Poetry is an extraordinarily powerful art, not only in the aesthetic but also in the political sense. It was no accident that Plato expelled all poets from his ideal State. In this case, the perfect beauty of the form is an argument in favor of the idea underlying the content of the film: "all under heaven." The sky is the one that encompasses all, is exalted, and therefore dominates all. The projection of heaven on earth is the power of one over all, the emperor. “To capture all under heaven” is the sacred goal of the ruler who wants to establish cosmic order in the world of people.
Before the characters realize their place and role in the universe, they have to go through a threefold path, which can be expressed in different formulas. The truth is that the truth is false, the truth is false. It can also be visualized as a tricolor: red – blue – white. From the point of view of the warrior, the path is the successive passage of three stages: the man and the sword are one whole - the sword only in the soul - the absence of a sword in both the hand and the soul. And the heroic journey begins with sparking the incredible power of passion. The next step is to be willing to sacrifice your life. But the highest form of heroism is the willingness to sacrifice not life but all one’s passions, that is, to renounce individuality in the name of the One.
It is no coincidence that the true hero of the Chinese nation is the Nameless. The imagery of the film constantly affirms this idea. The impersonal ranks of the tsarist warriors, with the admirable uniformity of mechanics, perform their duty to the ruler. All subjects look and behave quite uniformly - the immutability of the law leaves no room for individuality. Those who are unable to reduce themselves to the role of a small scale on the body of the leviathan (by the way, remember that the traditional symbol of China is the sea dragon), have no place in the kingdom of the One. The best they can hope for is a solemn funeral rite and finding a “home” on the other side of life.
In the third century BC, King Qin Shi Huang conquered all other kingdoms and thus became the ruler of the One Chinese State. In the film, he is depicted as a wise and not afraid of death master who, although cruel, acts for a great purpose. In fact, he was a ruthless tyrant who not only killed many people, but also ordered the burning of all the books in his empire. Towards the end of his life, Qin Shi Huang was so afraid of dying that in search of the elixir of immortality, he turned to alchemists, who urged him to take a mercury-containing “medicine.” A natural consequence of the use of mercury was insanity and rapid death. But even in the afterlife, he was not ready to go alone. Together with the Vladyka, his army was buried – a terracotta army consisting of at least 8,000 clay statues. Sculptures, although they are individualized images, are still composed of a limited number of physiological forms, connected in different ways. Thus, the terracotta army is individual in a conventional and very limited sense, which is quite consistent with the logic of uniformity. It is the fighters of the terracotta army that are most similar to the warriors of the Qin kingdom in the film.
The historical Qin Shi Huang has little in common with the idealized image depicted in the film. Also, the nameless hero is only a fictitious abstraction, an ideal citizen from the point of view of authoritarian power. The content of the film – the ideology of the totalitarian state – is presented in a perfect artistic form. Therefore, admiring the hero as an aesthetic phenomenon, one should not forget about the danger of poetics (in other words, propaganda) as the handmaiden of politics.
The first thing you need to know about the film Hero is a real masterpiece.
Second, this film should be treated as an example of film poetry.
Because the plot is filled with conventions characteristic of legends or myths. It is served in a specific cinematic language, where everything is important, even minor, minor details: background, colors, costumes. Each element makes sense to tell a story.
The plot tells about the time of internecine wars in China, where each region had its own identity, but was squeezed in its development due to the ongoing conflicts. The Qin Dynasty successfully began the unification of China under its rule. Naturally, in the regions it was regarded as despotism and gave rise to a bloody reaction. In the course of the narrative, not only the characters and their characters are revealed, but also the personification of different opinions on politics.
The conclusion of the film is to follow the progress. It is not the beauty of battle, but the wisdom of writing. One ruler, one language, one vast country.
The Chinese Communist Party obviously helped make this film come true. In order to show different ethnic and social groups of their country, businessmen, intellectuals, as well as the entire Western world that within a single coordinate system (spiritual values), life will be better and calmer. There should be no war, there should be systematic joint growth. So that all the lives given to the bloody struggle will not be wasted, but will find meaning in preserved peace and common development.
Ps. In addition, I would like to note that this movie has wonderful actors, stunning beauty camera work and a touching love line.
Martial arts and music are different from each other, but they have one principle in common - both strive to achieve their highest state.
In general.
Honestly, I do not consider myself a fan of Chinese fairy tales in the style of Wuxya about flying people, but this film would clearly single out as an exception because it just fascinates with its refined beauty.
Design and camera work.
I immediately want to highlight the overall picture because it is just fabulous. The whole film is conditionally divided into several segments, each of which is strikingly different in its scenery, natural landscapes, colors and dynamics.
Music.
Beautiful and meditative. Perfectly complements the visual component.
Plot.
Transfers us to the Chinese epic and touches on the values and ethics of Confucianism: nobility, justice, duty, wisdom, honor, loyalty, dignity, valor and others.
Acting game.
All the actors perfectly conveyed the general spirit, atmosphere, idea of the film and deserve praise.
Total.
Very beautiful (both in terms of visual, sound and idea), a meditative film about human values and ideals.
I recommend the film to fans of medieval paintings in the style of Wusya, Confucian teachings, beautiful shots and musical motifs in the spirit of traditional Chinese sounds. If you expect a drive action movie in a medieval setting, light humor or colorful melodrama (although it is partially present here), the film is likely to seem boring and boring.
Since the VIII century in the Middle Kingdom (Zhong-go) or the Celestial Empire fought among themselves several small states. In Chinese history, this period is called the “Warring Kingdoms” (Zhanguo). The winner of this confrontation came the kingdom of Qin. Its ruler assumed the title of Emperor (Huangdi) and completed the unification of China. But in the eyes of the conquered peoples, he was only a brutal conqueror. And many great spirits have made the murder of a despot the meaning of their lives. But not everything that seems evil at a distance turns out to be evil at a closer and deeper dive into the essence of things.
Zhang Yimou tells, if not the same story, then based on the same legend about the emperor and his assassin, as Chen Kaige a few years earlier. But the plot, style and overall composition are completely different. Narration is like a large tangle of multicolored threads, each of which gives a new tone and color to the same events. Qin-shi-huangdi talks to the Man Without a Name, who tells the same story over and over again, but in a different way. Each subsequent scenario is colored in its own special color scheme and gives its own interpretation of the actions of the characters and the motives of their actions. In the red (the color of love and bloodshed), passionate love flows into hatred and thirst for revenge. Blue shades turn the story into a story about the sacrifice of great people in the name of idea and love. In the white color of strength of spirit and greatness painted the third fragment. Green colors penetrate into the story along with the hope and dream of the future happiness and harmony, which the harder to achieve, the more desirable. Each option is a narrow view of what is happening, distorted by a specific color / look in a certain direction. And only the combination and combination of all rainbow shades gives not only the richness of the palette, but also the breadth of coverage of a true understanding of history as a whole.
Hero is a synthesis of ancient Eastern traditions and the art of postmodernism through cinema. The director like an illusionist creates space for all sorts of conjectures and interpretations. Multiple associations and allusions weave a bizarre pattern. Visual aesthetics and mesmerizing music in many scenes replace dialogue and voiceover text, leaving room for the co-creation of the viewer. There is no depiction of the true events of Chinese history, but there are motives. The special artistic reality created by Yimou is inexhaustible in its incompleteness. The past coexists with the present, which throws the sacrificial bridge for the coming. Nonlinear history is based on cyclic repetitions, which become key characteristics of the disclosure of the essence.
The meaning of “Hero” is read based on the syncretism of the Eastern worldview. All Chinese art is interconnected. Achieving the highest mastery in painting, music, calligraphy or even martial arts is possible only through the utmost exertion of will. The concentrated spirit is capable of embracing the whole universe, reaching the highest level of life force. Having achieved perfection in calligraphy, you can thus open a way to become a master of combat. Everything in the universe is interconnected. The cosmos is a single resonating system, a giant world-organism in which the influence-response (chan-in) reigns. The developed personality, by the extreme strain of his will, can affect the universe, and it will respond in accordance with the force and nature of the action. The power of sincerity and spiritual concentration gives the ability to do the almost impossible. No wonder the characters in the frame are shown in accordance with the composition of traditional Chinese painting in indissoluble unity with the surrounding space. All landscape views in the “Hero” appear as if from a mountain top. Different plans are separated from each other by air haze. A high horizon enhances the feeling of the infinite space.
If you do not climb a high mountain, you will not know the height of the sky. Without looking into a deep gorge, you do not realize the thickness of the earth. Nothing in this world is for nothing, and nothing is for nothing. The taste of happiness can only be appreciated by losing it. For the sake of life and well-being, many need the wanderings and torments of some, perhaps the best sons and daughters of their land.
Today I will try to tell you about the 2002 film Hero, directed by Zhang Yimou, who also created such films as 2016’s House of Flying Daggers and The Great Wall. The film itself starred some iconic actors: Jet Lee, who needs no introduction, Donnie Yen, whom you can remember (or recognize) from the pictures: Blade II, Shanghai Knights and – from the latter – Three X: World Dominance. Separately, I want to draw attention to Zhang Ziyi, the actress who played the supporting role, which was especially difficult and tense; she had to show a woman in one film voluptuous, and disappointed, and jealous, and vengeful, and having ideals. And, to me, her performance is worthy of all praise and awards, although, I confess, I am not a specialist in theatrical art.
I said above that I would try to tell you about this movie. And this is true, because I have no idea how such a movie can be properly described; it can only be seen, contemplated, felt.
For those who still want to read specially drained words that can not convey the atmosphere of the film, I will continue.
The picture tells about the events that take place around the middle of the III-th century BC, when a certain Nameless person is invited to the ruler of the Qin state in recognition of the merits of the first. The film itself, for the most part, consists of a story about the events of the recent past, sometimes returning to the moment of dialogue. Interestingly, the story is about the same events as many as three times, but in completely different interpretations and interpretations. I will not talk about the plot in more detail just because its twists are so unpredictable and elegant that the best thing I can do now for my reader and, hopefully, the future viewer is to keep silent.
However, something can and should be discussed. These are the artistic techniques used by the director in the film. First, it is necessary to note his play with a palette of colors: it is so perfectly correlated with the narrative and has great importance in the narrative; special attention is paid to the following colors: red, blue, white, green, black, yellow. The second thing that can’t be ignored is the music played on traditional Chinese instruments that sets the tone for events. The third important aspect is the unnatural acrobatics that are traditional for Chinese films; people who are not used to it can be somewhat confused by this feature, and this should be taken into account. Also very qualitatively recreated the entourage of the era and emphasized the beauty of nature.
The film, although it has its drawbacks (not always the best angles, perhaps some protracted scenes, a certain historical inaccuracy: the Qin Empire was created on the basis of the philosophy of legalism, not Confucianism, as shown in the movie; unrealistic combat, a certain illogicality of actions), but is aesthetic in essence. But, unlike the once considered dilogy “Battle of the Red Rock”, this picture does not seek beauty for its own sake.
In "Battle" the goal of the director was to convey the story as skillfully and refined as possible. Here, Zhang Yimou’s task was different: to bring the viewer, albeit at the expense of some realism, with the help of beauty and harmony to the ethical themes posed in the film. And moral problems are really very well represented here: questions of honor, the duty of a person and a sovereign, the general and private good, love and hatred, lust and chastity, peace of mind and its own confusion and many, many others. Probably, I only think, but perhaps looking at the events of the movie “Hero”, you can see all ten thousand things concerning ethics.
However, before everyone makes their verdict on the film, one thing is worth considering: in this picture, the most important thing is to experience the impression of its integrity. It is pointless to break it down for analysis and to look for flaws; they are there, and they can easily be seen. But the beauty of "Hero" does not fade from this. Because "All under Heaven."
The amazing art of the film Hero is to bring peace to the heart.
This masterpiece made me share a review for the first time on the Kinopoisk.
Film style, presentation, camera work and the beautiful atmosphere of ancient China shed through music. Strings of the soul with trepidation play from a spectacular production.
Virtuoso presented Confucianism with an understanding of the essence to the core.
The drama unfolds right in the mind of the viewer.
What version of the story will you accept?
For me, the film ended with a scene where there was a grand transformation of War (Jet Lee) and The Emperor. All 'under the same sky'.
Then everything went completely unexpected for me. And this is the stage of my development: accepting the outcome as it is, with peace in the soul.
What this movie is about:
It is about the war in each of us. Hearts that beat in the hope of peace. This is the greatest transformation. Without peace in the soul, there is no life.
To be ready to show all your weakness, to be naked, to allow yourself to love sincerely, to return to the house where peace reigns. And the price may be life, but the peace shed through everything will never be disturbed. And this is the greatest strength of peace, which is stronger than any sword in the hand and the heart of war.
Thank you for a film that touches the heart so deeply and transforms the mind.
Low bow. Directed by Zhang Yimou Bravo!
Of all the films I’ve seen, this one probably fits the definition of “Really Beautiful” best.
The film simply struck my imagination at the time. Every time I watched it, I was amazed at its beauty. They laughed at some reviews from the category “haha, flying through the air, what nonsense.” One gets the impression that the perception is extremely superficial without delving into the process from the point of view of art and Eastern philosophy.
The film is very Chinese, very oriental: it is unlikely to be to the taste of a purely Western audience (or rather, rather, the viewer with exclusively Western perception of the world or without imagination), especially with such a message (The life of one person, even if he is a hero, is nothing compared to the integrity and grandeur of the Empire and peace in the country) in an age of universal “democratic tolerance”.
1) Each visual component causes a feeling of some allegorical stroke, which eventually folds into a single canvas, resembling Suzhou embroidery, ink drawing and calligraphic sketch.
2) All this action is accompanied by an amazingly calibrated sound, very clearly selected for every movement, every rustling, every “sigh” of the picture.
It looks like poetry in the movie.
(3) Characters. Couldn't have been different. Embodies the features of the Eastern perception of the ideal world from one point of view or another (What the Broken Sword wrote almost the entire film), reflecting values such as calmness, patience, understanding, passion, search, which, even if they are common, can conflict due to different understandings of “good”.
(4) Colors. What’s in this movie, it seems, comes first. The colors and combinations make this film so different from others, including Chinese films. Here, I think, the merit of the directors and, probably, the director himself, who knows how to shoot a completely different movie, but colors always matter. Zhang Yimou is different.
Bottom line: this may be a strange, but therefore attractive picture. The word "picture" is key here. Few words, more thought and contemplation.
10 out of 10
In the film “Hero” everything is so beautiful that the critic inside you will not dare to find fault with fairy-tale combat productions and constant violation of all the laws of physics, your inner critic will personally build a guillotine for himself, and he will cut off his head. That is so spectacular, beauty and semantic load are strong that about the rest and do not even want to think. Add to that a meager budget that allowed you to showcase an excellent visual. Beautiful film "Hero", beautiful and legend, a legend that will unfold on the screen for almost two hours, beautiful and actors, and landscapes and the surrounding world take its colorfulness and inherent splendor. There are no good, there are no bad, there are no good, just as there are no evil, there are people with their own drama, personal tragedy, and here people who have their own story, their parables, they only want to convey their word to others, thereby leaving their legacy. Western obscurantist pathos, as well as Western episodes that work more in films of the category of bloody-humorous action films, are not there, and it is unnecessary for them to be here, in the film “Hero” such chips would not work and this is another plus in the piggy bank of director Zhang Yimou.
The plot is quite simple, it will tell about the emperor of the Qin dynasty, whose tyranny has reached such an extent that the nearest lands tremble on his name alone. Of course, this could not last long, those who did not want to be under the emperor had their own circle of resistance, and the greatest in this circle of resistance were the Broken Sword, Flying Snow and Heaven. Three powerful warriors, each with his own element, and each with his own martial arts knowledge. Different in character, different in ideals, but with a common goal. They may have been the only ones the great emperor feared to avoid being assassinated. In order not to fall into disgrace, the emperor of the Qin dynasty hires his man to finally eliminate the threat. It seems that the plot is simple, simple, but this plot is full of dark corners, and each such corner contains its own message, its history and mystery, thanks to which the viewer will be able to collect a mosaic of what is happening, and after that think about the purpose of the legend. This is a tragic myth, which after thousands of years you can visually see, enjoy not only a beautiful picture and Chinese landscapes, but also think a little about the world under the sky.
To make an allegorical comparison, “Hero” is like a small house, where people gather to discuss something of their own, but these people leave the door of their house open, and anyone from the outside can join the people inside or listen to their discussion. There will be those who pass by without seeing anything unusual in an abandoned house, passers-by at this house will be of different categories, but there will be many of them. The film is definitely not intended for commercial purposes, and the actors who played their roles are beautiful and very talented. Sometimes it even seems that this is not a film, but parchment, on which the history of one people is painted in color colors, where there is a rough stroke, and there is a soft one, there are victories, defeats, achievements of each of the people painted on the sheet, and the story of the hero will be told to you by one who has no name, listen carefully.
There are Asian films that are like meditating and contemplating nature. The history and philosophy of the East are subtly connected with the power of Nature, the will of Heaven and the role of Man in this world. These deep beliefs are far and mysterious to Western understanding. This is why we are so excited and excited.
We all walk under the eye of heaven. Give your life for a higher purpose? For the sake of the future of the state and people, for the sake of calming the souls of ancestors.
The film is divided into color novels: the first is black and white, like stones on a goban. The second one is red like a calligraphy mascara. The third is blue, like true vision. The fourth is green as a symbol of the beginning. And the fifth is white, like birth and death.
The meaning is encrypted here not only in color, but also in the word. The word is the strongest weapon, the blade breaking or the wise teacher. Truth or falsehood.
You can tell one story in different ways. Only the seeker will see the many layers of a simple story. And we, the audience, will gradually begin to reveal layers, turning the truth upside down, rearranging positive and negative characters in places, shuffling feelings.
You can write one character in nineteen different ways. Few people can find the twentieth way. And few will be able to understand its meaning. Two insurmountable enemies, as it turned out, absolutely understood each other.
And just three words can change the fate of a person and the whole country!
Director Zhang Yimou is a master of gorgeous visual cinema. Beyond its philosophical and historical implications, it is an inexpressibly beautiful picture. Watch, listen, inhale fragile footage.
I haven’t written for a long time, of course, during this time I watched a number of interesting and not very interesting films. I want to tell you something unusual. And so, Jet Lee just "went to the masses" - began to get million-dollar contracts in a dream factory, and then he goes back to China to star in this film, why, why? Let's figure it out. A year has passed since “Crouching Tiger, Hidden Dragon” was petted by critics (4 Oscars) and audiences (12.5 times won the budget), and an ambitious Chinese director decides to make a film about China, about martial arts, about morality, what is it? Trying to ride someone else's wave? Raise the money? We'll see...
The plot takes us back to the era of the disparate principalities of China, in the era of myths and legends, no, in these of your Europes witches have not yet been burned, even further, when Christ was still 2.5 centuries, and in Europe they also believed in spirits, and many gods. The time is truly mysterious, epic! The plot flows smoothly as a fairy tale, but has a clearly visible channel, from which it cannot go. The story is full of digressions, conjectures, ruptures of the plot, in general, tasty and interesting, the only drawback, as I said, is predictability. However, the film is never boring, but more on that later. And now deserved 1.5 for a dense and interesting scenario, with an unpredictable ending.
The very large budget for Chinese cinema was not sawed, as is often the case in this country. The visual component is great, some moments can be safely screenshot and put a screensaver anywhere - everything in the east is bright, colorful, unusual, mobile - in a word, delicious! 2 of 2
Let’s just say that it is not easy for a Westerner to understand all the “tense moments”. Like Eng Li, Zhang Yimou makes unusual for the Western audience moves knights in terms of film timing, then stretching, then pumping. But unlike consumer goods, in these films it is felt that this is not because of holes in the plot, but at the behest of the director’s heart, nevertheless, some difficulties come to the place with unusualness. Still, something I did not understand, and in the end we have 1 out of 2 for the temporary content of the film.
The music is beautiful and wonderful, even if the composer was honestly shunned by “Crouching Tiger, Hidden Dragon” – received an Oscar for best original soundtrack a year earlier. Music is everywhere, and it does not bother, it does not distract attention, but pleasantly emphasizes, dissolves in itself. 2 of 2x.
Actors. It’s complicated, there’s Jet Lee, and I’m not afraid to call this the best role in his acting career, and I love this actor and I know what I’m talking about. There are still a number of useful actors, but there are those who lubricate the impression, slightly overshadowing the seemingly excellent performance of others. 1.5
We end up with a great movie. You can talk for a long time about what Zhang Yimou’s Hero is missing, but I will say for sure that this film is stronger for me than Crouching Tiger, Hidden Dragon – it is deeper and more soulful. Nevertheless, the general public did not appreciate, having a budget of almost 2 times more than the film of Ang Lee, "Hero" collected much less, was not so unrestrainedly gifted with awards as a similar film released a year earlier. In general, in my eyes - this is another underrated film both in the states and in Russia, sorry, I highly recommend!
8 out of 10
Hero is a masterpiece of Chinese cinema and one of the best films of the XXI century. Stylistically sustained picture of Zhang Yimou shows China of the Warring States era (" Zhanguo), can not be called a historical film, because the creator has departed from the real story, it is only at the heart. But you can’t send it to the fantasy section either, because everything that resembles this genre is flying characters and walking on water. The king of the Qin state honors the man who hunted down and killed the king’s main enemies. In proof that they are dead, the Nameless hero brought their weapons, but the ruler is not so easy to deceive and he asks the hero to tell him how he dealt with them.
The color scheme the film is divided into five parts. Gray buildings, rain is the first story in which heaven dies. In red, the second story, told by the Nameless Hero, is full of passion, expression. Broken Sword paints the character "sword", Flying Snow fights off enemy Qin arrows - all this is a false story, fiction. A turquoise story is like a dream, like a vision, the most unreal of all. Now, think about associations: what color do you think the truth is? Zhang Yimou had it in white. And the fifth story, which lasts throughout the film, the story of the meeting of the Nameless and the ruler of the Qin state. Black history as the heart of the future Chinese emperor.
The time has come for the real story of who this king really is. Everyone knows that China built the Great Wall, someone will be able to remember terrible stories about it, about people walled up in the wall and so on. And all this is the work of this “black” emperor Qin Shi Huang. He was quite an interesting person, at the age of 13, becoming the ruler of the Qin kingdom, he was long under the care of his mother and her “eunuch” lover. All this affected his character, the young ruler began to trust only one person, his adviser, who used his ropes. By the age of 40, he had united all six Chinese kingdoms, perpetuating his name, but most of all he wanted to make his life eternal. Paradoxically, the great first Chinese emperor Qin Shi Huang died after taking the pill of “immortality.”
During his long life, the emperor survived three attempts. One of them became the basis for the film “Hero”. What did Zhang Yimou take in his story? The man who attacked the emperor’s life was called Jing Ke, translated from Chinese simply as “mercenary”, what his name is actually unknown. In order to get an audience with the emperor, something significant must be done. Therefore, Jing Ke carries with him to the palace a map of the warring Yan kingdom and the head of the enemy, whom he persuaded to commit suicide in the name of a higher goal. The attempt ended in failure... Zhang Yimou took an interesting legend and made it a candy.
This will be the end of a short tour of Chinese history. Enjoy what you see, because “Hero” in addition to a beautiful picture, can present a lot of emotions and subsequent reflections. Tyranny is evil, of course. But there are evils and good things.
9 out of 10
Sufis have a legend about Green Khidr. This prophet may take different forms or put his words into the mouth of different people. And every person, if he wants to, can hear it all the time, even talking to idiots, because the Prophet says some words for them. The main thing is to hear the words addressed to you.
In my opinion, Zhang Yimou’s film “Hero” is a detailed illustration of this legend. The viewer is told many times about the essence of what is happening, the whole question is whether he is ready to hear what is said.
The plot of the film at first glance is uncomplicated. The ruler of the Qin kingdom set himself the task of creating a great empire, subordinating small scattered, constantly warring principalities. Naturally, the rest of the rulers strongly resisted this and bequeathed to their best soldiers to avenge the looted and burned cities. The purpose of life of the Big Sky, the Broken Sword and the Flying Snow, who can fight with an entire army - to kill the conqueror.
For ten years, Emperor Qin hid from their vengeance in his opulent palace, increasing the rewards of capture more and more, and not letting anyone near him more than a hundred steps. Until finally, a young warrior nicknamed Nameless (Jet Lee) was brought to him, who claimed to have personally killed all three. Not only did he claim, but he provided the necessary evidence. The ruler of Qin was shocked by what he saw and showered the Nameless with blessings: he rewarded him with gold and lands, and as a sign of special mercy allowed him to sit ten steps away and conduct a conversation.
The whole film is the story of the Nameless, but the Emperor would not be such if he did not see the lies in his words. The scene in the story of a young warrior, then suddenly appears in a completely different interpretation, and only the fact of someone's death (real or imaginary) remains the same.
But that's not the point. At the very end, you understand that the whole film is a detailed interpretation of the twentieth way of writing the character “sword”, the highest level of mastery of it (the art of calligraphy and sword possession are related):
1. The unity of man and sword is the first stage of a warrior when he fights bravely.
2. Step two: the sword is only in the heart of the master, it is not in his hands (imaginary battle), but he also kills his opponent.
3. The highest stage, when the sword is neither in the hand nor in the heart - then a warrior brings peace, and such a warrior is a hero - the highest of warriors.
This character was written by the Broken Sword, who once had the opportunity to kill a conqueror and voluntarily refused it. But nevertheless, he, like before him, the Great Sky and the Flying Snow, will either perish, or will give himself a “deathly” wound, so that the Nameless One, who is also called the “Striking with the Ten Steps”, can approach the emperor.
It's one layer of the film. The layer of the idea that the life of one person, his pain and loss, his passions and desires cannot be compared with the interests of the future Celestial Empire. And only a real warrior, a real hero, can understand the essence of this idea and go to death for it.
The second layer is color symbolism. Each version of the presentation of a particular episode is colored in its own color. Moreover, this color is present in the decor of rooms, coloring various objects and in the clothes of the characters.
The third layer is scenes of fights, consistently illustrating the deciphering of the hieroglyph. A fight with the Big Sky in the rain, when the sound of blows sounds in the beat of drops from the roof; a fight in the autumn forest between the Flying Snow and the Moon, when Snow uses air strikes, lifting clouds of bright yellow leaves into the air; a duel on the mirror surface of the lake between the Nameless and the Broken Sword, when the camera follows a small droplet falling on the cheek of the Flying Snow; scenes of an army attacking archers on a small village, while Flying Snow and the Broken Sword. And although tribute is paid to the genre - heroes can fly and fight on the surface of the water, all this looks completely organic and natural.
A brilliant parable about heroes, about whom the next generations will make up legends.
9 out of 10
Postmodernism in Ancient China: How Fast is Your Sword
There is a lot of good and correct writing about the film.
In general, it is: the film is very good!
There is ancient Chinese tragedy, lyricism, aesthetics of color, and the desire for self-discovery through calligraphy.
Fight scenes have a striking calming effect: it seems that kung fu has never been so beautiful and soothing, it is beautiful and wise in every movement of the masters.
Aesthetics and harmony in this film, full of dramatic personal and historical events, seem to shine through the wise and smiling face of the Chinese Buddha: he already knows, everything is transient in this world, where human destinies are like innumerable sands, rushing by the wind of change.
As for postmodernism, the description of one story is presented in several stories, coming closer and closer to tearing the veil of visibility from the truth. And just as all the veils disappear from the imperial palace and the palace becomes transparent from the inside, so by the end of the film it becomes clear that nothing is more beautiful than simplicity and unity under Heaven. But whether one of these stories is red, blue, or white is the closest thing to the truth, you have to decide for yourself. Postmodernism, after all.
Wusya is a very unusual part of Chinese culture. Specific fantasy stories with incredible battles, beautiful landscapes and historical foundations. The most famous example of “usya” is the “House of flying daggers” and the “Hero”. We'll talk about him.
Hero is an incredible symbiosis of fantastic history and ancient philosophy. From the very first frames, the authors present to us, if not the three, then the four commandments of Confucius and all this in an unusually epic scale.
In the center of the plot is the story of an unnamed hero who appeared before the ruler of the Qin lands to tell about his feat - the murder of three sword masters who attempted on the life of the future emperor of China. And as they evolve, these stories are presented from different angles. The ruler doubts the story of the Hero and tells his version, and in the answer of the Hero the true story is born. Each version is distinguished by its color scheme and, of course, exciting battles.
The local epic scale is striking. From the beginning to the final, we see extraordinary crossroads of extras, battles, stunning scenery. But epic battles with incredible choreography and extras would not be complete, without the main stuffing – the very essence. History itself, in which lies both the philosophy of altruism and the exaltation of honor and the creation of the future, even if it requires sacrifice.
The finale is difficult to pass with a calm soul.
Eastern philosophy has always attracted me with its depth, its value system. Contemplation, calmness, silent manifestation of inner strength and spirit.
The plot of the film is one of the legends surrounding the Qin dynasty, which tells of a wise emperor and three warriors: The sky, the falling snow and the broken sword, so eager to kill him. The story is conducted on behalf of a man who came to the emperor with the news of their death by his sword.
The acting of this tape shines with its authenticity. The actors seemed to get used to their characters, these brownies filled with wisdom and inner fire, eyes, this facial expression, whether it is determination, despair or calm. Gracious movements, battle scenes.
The sound series should be given special attention, because, as the main character says, the music is similar to a battle. The music envelopes the film inimitable atmosphere, allowing you to especially subtly feel everything that is happening on the screen at the moment.
And if everything I wrote above is just a general characteristic, then my personal opinion will be a little more emotional. Imagine yourself for a moment in ancient China. Feel the nobility, the art, the deepest wisdom, the discipline, the resentment carried through decades, the death accepted for love, the death accepted for peace. "Hero" is a legend about the truth, which consists in three words. And as long as there are people who are ready to give their lives for something truly pure, bright, this world will not cease to exist.
9 out of 10
" - You're going to kill me.
But how did you know?
Evil intentions stir the flames of ten thousand candles.
I was fifteen when I first heard about this film, and only two years later I watched it. And then, for the first time, I spent most of the film fighting the thought, "What's this all about?" Until I saw the ending that struck me, let it sound like a tautology, completeness. Unforgiving certainty. Accuracy.
The second time, I watched it four more years later, and admired the idea already known to me and how subtle and graceful its essence was reflected even in the details.
The third, and for the last time – after another three years – now admiring more art in everything: in speeches and silence, in the movements of the brush and the movement of armies, the fullness of deserted landscapes and the emptiness of those requiring the submission of the establisher of order – order.
In a shadowy way, this film, better than any other, revealed to me the essence of what China is, and it was beautiful. One day I will definitely watch it again. And then again and again. With gaps in years - but necessarily. It's worth it.
Watched this movie as a kid. On re-watching, I thought that the emotions that permeated me at the first viewing will no longer be. But my expectations were not met. This film absorbed me completely: its plot, the flight of thought and subtle dialogue without unnecessary words, which were later confirmed and supplemented by magnificent battle scenes.
Especially I would like to stand out the master with 'broken' sword and the ending of the film, where he draws in the sand 3 ' key & #39; symbols that become a stumbling block for our hero Nameless, and the scene when he did not repel the blow of his beloved, in order not just to prove something, but something undoubtedly more. Neither did the emperor himself. As for the main character himself, he played well, but it seemed to me that his face in all scenes was the same (although it could seem).
In general, everything is great, I recommend everyone to watch it.
The theme of martial arts has long occupied a worthy place among the audience’s interests in cinema. And if the close interweaving of the art of war and culture is brought to an exorbitant level, as in this picture, it cannot leave you indifferent. Looking ahead, this film with the reimagined attributes of an entertaining movie is not for everyone, but it should evoke certain emotions. One of the closest landmarks is “Crouching Tiger, Hidden Dragon”. Speaking in accessible terms, before us another fascinating variation on the theme of soaring in the air warriors and captured arrows.
Turning to poetic parallels, the canvas of the plot is woven from fabrics of different colors. Each of the main stories told in the film is distinguished by its color scheme, mood, means of transmitting the worldview of the characters, where the shade of their clothes is only the most obvious tool. It feels like reading a very interesting book, imbued with the spirit of the East, some barely tangible metaphysics. Of course, this is a commercial project, and its creators and participants are only specialists in their field, but I would like to note the philosophical nature that is present here. With a certain intrigue, when scene after scene you try to catch the true state of things, your head does not get tired, because you concentrate more on sensations, relax in a certain sense.
The laws of physics and common sense are bizarrely twisted in relation to the main characters of the film. They conduct a cruel and at the same time graceful sword fight, barely violating the water surface of the lake, simultaneously fighting off hundreds of arrows, have incredible speed. It is worth noting that such inflated images are perceived easily and effortlessly, you just need to approach the viewing with proper understanding and know what to expect. The picture has a stunning visual style - everything that happens is literally imbued with oriental themes and involuntarily wants to believe in the authenticity of the presented history, which has one way or another historical roots. The scenes of the battles themselves, the offensives of armies, sieges, are made at a very high level and will give a head start to most expensive Western projects.
To evaluate this film can not be approached with calibrated prudence, because the main factor here will be your emotions, both during viewing and after time. The film is firmly embedded in the memory and leaves an indelible impression, setting a certain bar of quality in due time.
Hero is one of the brightest and most impressive Chinese films I’ve seen. This fantasy with elements of action film and drama shot incredibly beautiful and sensual, and I like this film very much. It is saturated with the sharpness of feelings and picturesque colors, and its dramatic story is shown dynamically and colorfully, and this film impressed me, it inspires and carries me into something unimaginable and beautiful.
We see a rift in a great country and how one warrior must kill an emperor, and we see his acquaintance with the mysterious warriors Broken Sword, Flying Snow and Heaven, and we have been shown three stories, and only one of them is true.
The cast was great and all the Chinese actors played very well and looked good in the film. Jet Lee is one of the most notable oriental actors and he has played in many standing and strong films, so it was a pleasure to see him in this fantasy. Tony Leung Chu Wai is my favorite Chinese actor, and he always plays complex and controversial roles, and in this movie he played as talented as always, and his character was the most mysterious. Maggie Chun is a sweet and sensual actress that I like, and in this film her character captivated me: she was incredibly beautiful and charming, and I loved her every gesture and feature. For me personally, Zhang Ziyi is the most talented and beloved Chinese actress, and even a small role in this film she was able to make bright and noticeable.
With a budget of $ 31 million, it turned out to be a very impressive and strong film, for those who not only like to watch historical action films, but also feel and see a beautiful and charming fantasy, which has everything to enjoy when watching. “Hero” is an amazing movie unlike anything else, and for me it is a masterpiece that can be revisited with pleasure over time. The film was nominated for an Academy Award, and it is worthy of respect, and immediately distinguishes this film from ordinary and ordinary Chinese films. I believe that “Hero” without a doubt deserves attention and positive feedback. I was impressed by this movie, and I confidently recommend it to those who have not seen it.
9 out of 10
After viewing, a slight yearning covers, because the vast majority of viewers admire the beauty of some “Hobbits”, “Lord of the Rings” or “Avatars”, even unaware of such a diamond of visual art as “Hero”. You can shoot movies in 3D and IMAX, shoot and show at 60 frames per second for greater realism, or you can just shoot professionally, with soul and taste. And it's not even that "Hero" is better, it's just that it's from a different test. Antonioni, by the way, also made really beautiful films a few decades ago without all this, but this is from another opera.
It is no exaggeration to say that this is a truly amazing film. The scale and almost grandiose scale of the production of some scenes, mixed with the harmony of desert landscapes of enchanting beauty in other scenes. The variety of visual means ranges from ascetic stinginess to the dominance of details in the frame, responding to the changing dynamics of the narrative, which is either rapid or quiet as water. The scenery and costumes are selected in an aesthetically skillful way, always falling into the tone not only for the general artistic decision of a particular episode, but also emphasizing the general poetic mood of the picture.
The deeply restrained narrative is dictated primarily by the philosophy of the film. Discipline and devotion to the idea, reaching the point of self-denial, are the main driving forces for the characters of the tape. Fearlessness and sacrifice are associated with strong will as inseparable as the mastery of the sword with the art of writing characters, which are engaged in the characters of the film. This gives rise to the prerequisites for the organization of a complex plan to assassinate the emperor.
The same story, told from several points of view, essentially different from each other in actions and ideology leading to them. The change in costume from interpretation to interpretation. Aspirations not only to complete what has begun, but also to comprehend the seemingly inaccessible mystery of the sword and hieroglyph are intertwined and pave an impassable path on which the heroes face insurmountable obstacles and the deepest moral dilemmas. The personal tragedy of each of the characters leaves no hope in the end to call any of them the winner in this confrontation. Except for the man to whom life gave not even a name, but at the end of his journey gave something more important - a sense of accomplishment and harmony.
In Zhang Yimou I saw three films: "Hero", "House of Flying Daggers" and "The Curse of the Golden Flower", in the plans to view "Flowers of War". I don’t know about the latter yet, but of the first three, I really liked only the Hero.
I have noticed Yimou’s love of composing and maintaining a spectacular visual piece, while keeping the narrative lazy and precipitous. This is especially noticeable in "DLK" - it seems beautiful, and the picture is exciting, but the history is utter boredom. "PZZ" will be noticeably better, although here the plot often sags under all this visual splendor. In "Hero" the most clearly balanced line between the picture and the content. The whole film, from beginning to end, almost every single frame can be framed and hung on the wall. And this is not depressing, on the contrary, emphasizes the semi-fairytale nature of what is happening - all those fantastic tricks, like soaring in the air and jumping on water, which are filled with Chinese films of this genre - all this looks organic, and almost believe that these people can go against the laws of physics.
The plot has a very intriguing construction - the transition from a semi-fairy tale about half-gods, to a real story with human heroes. This film is not an action movie, although there are plenty of fighting scenes there, it is rather a philosophical parable that deals with such a controversial topic as war and whether it is necessary to maintain order and peaceful life.
This film is probably the only one where I was able to perceive Jet Lee as an actor, and not just waving his limbs in front of the camera karate player. It’s also the only movie I’ve ever had the pleasure of watching Maggie Chun play. It's a shame she doesn't do that much. Well, the incomparable Tony Leung Chu Wai, who does not cease to amaze with his acting talent.
I think the film "Hero" can be compared to some extent with a video of beautiful nature with meditative music - few films have such a relaxing and stimulating effect at the same time.
In the midst of a merciless internecine war: The heavens are split, blood and tears flow from the cracks. The imperial parade ground is filled with people. The Imperial Palace is empty and serene. The nameless hero, who single-handedly dealt with the main enemies of the crown, was given the great honor of being able to communicate with the emperor at a distance of ten steps. He went to this for a long time, and more than once the line between life and death passed along the blade of his blade. He deserved honor and respect, but came to the reception to the ruler not for gold and awards. However, he will become a hero a little later.
The wise ruler of Qi hides from three assassins behind the gates of the palace and the backs of many thousands of soldiers. He unravels the plans of enemies and the meaning of significant characters. He fights not only for the opportunity to bathe in luxury, sitting on the imperial throne surrounded by eunuchs and lackeys. His ambitions extend beyond the trivial seizure of power. As the last major obstacles to victory are removed, the emperor wants to know how his mortal enemies died. And the nameless one begins his story.
The raindrops make noise, they are echoed by the sharp, creaking sounds that an old blind monk draws from his cymbala. Spear versus blade. A long battle in the imagination, one attack, one blow - and Heaven is defeated, one of the three assassins who sought to kill Lord Qi. A school of calligraphy besieged by enemy troops. Red robes and red paint. Fighting with a million arrows will inspire the master to write his best character. The nameless man calculated everything exactly: he leaves, and the Broken Sword, the second warrior, loses his life. The Dust Valley, the Emperor's army, stunning with spears in anticipation of a great battle. The circle of shields will close and Flying Snow, the third warrior, has no chance to escape from it. And this, strangely enough, is just the beginning: The nameless person will have to walk many more roads and throw many enemies to the dust. And having crossed the threshold of the palace with one specific and important goal, to be able to change priorities in a short time.
As an example of the traditional Chinese genre “wusya”, the film absorbed Eastern aesthetics and Confucian ideals. And the plot itself in the realities of Western Europe is difficult to imagine, if at all possible. The mentality of the characters in feudal France or Spain would not take root. That’s why the “Hero” has achieved even more wonderful success on Western screens, including American ones. The reason for this, perhaps, the visual pretentiousness, the entertainment of numerous battles and twists adored by people who grew up on the Hollywood heritage. Combining a deep, but understandable idea with true Eastern attributes, "Hero" came out both exotic and cosmopolitan at the same time. It will be understandable to both the Chinese and the American, as well as the patriotism of the Confucian model, which is glorified in it, sacrificial and not pathetic. And other truly Eastern features the Western viewer has already somehow accepted as a given without unnecessary attempts to understand the essence of these intangible matter. When of two completely identical hieroglyphs, one can safely be considered a masterpiece, and the other is a doodle of a student. When hopelessly in love with each other, warriors are ready to cross swords because of their different worldviews. When impenetrable, like masks, faces are not the scarcity of the actor’s arsenal, but the imprint of blazing emotions in the depths.
Every character is a center of valor and honor. Every fight is like a Valkyrie dance. Reflection, which turns the hated enemy into the hope of the state. A country that should be one. And one person who can bring it together.
Stereotypes are a powerful thing. When I was asked to watch "Hero," I fought back as best I could. In the frame Jet Lee and oriental martial arts, pretentious name - what to expect here good!? Wrong.
The film fascinated from the first minute. In memory immediately emerged seen in deep childhood piercing and shocking “Red Gaolian”. As it turned out, it is no coincidence that the director is one. Author's style, albeit in a completely different genre, is guessed at an intuitive level by elusive details, nuances.
"Hero" is fantastically beautiful. As the director’s ancestors reached the absolute in writing hieroglyphs, so Zhang Yimou achieved impeccability in depicting the fights of heroes. And let the meticulous viewer not be confused that violated all the laws of gravity: warriors soar in the air and easily slide on the water surface. The first is the East. This is not about physical strength. All fights are first of all whimsical games of the mind. The winner is the one who sees the true essence of things and understands the structure of the world. Secondly, these are not the events themselves, but only their free retelling by different people. And speaking, you can invent a lot... Since the characters are bright personalities, different from each other, versions of one single story are radically different. General - only its result, the final.
The symbolism of color is used in the film. The three novels are painted in different colors, each of which is a cleverly encrypted message. Red signals falsehood, blue signals falsehood, white signals truth. In my opinion, there is symbolism in the square. To be clear, white is deceiving. A person sometimes takes a whole bunch of different shades for him. It is just as easy to be deceived into believing an illusion to be true. Some, like the heroine of the film Flying Snow, are unable to deny their “truth” even when they are given irrefutable arguments. For the sake of delusion, hatched for years, they are ready to sacrifice themselves and, even worse, the only beloved and native creature in the whole world.
The color palette clings. The field is covered with golden grass. Red leaves are falling from the sky. Aren’t those about whom Butusov sang the forerunners of a terrible war, making the heart anxiously shrink? Great costumes in which the characters are dressed. Each garment is a work of art woven from fabric and dreams.
The actors are a separate story. Jet Lee, who played the main character, is organic in its static nature. He may not be a great lyceum, but the unflappable look of the Nameless and never flinched facial muscles perfectly reflect the principle of “all inside”. Perfectly fit into the parable-epic Tony Leung and Maggie Chun - the favorites of the wizard Kar-Wai. They are not only superficially attractive, but can also convey in the frame the movement of the soul, its confusion and the painful process of insight.
Embodying positive characters on the screen is extremely difficult. They are often as bland as matzah. There is no charisma, no alluring depravity, no pepper. Boring my cheekbones. But it's not about Tony Leung. With those he plays so skillfully, any woman would go to the ends of the world. All his characters are romantics with a steel will, verbose, loyal and reliable. What are only the smart, sad, sad eyes of Broken Blade? It is as if he knows what others have never known and will hardly ever understand.
Music adds emotionality to what is happening. Imou in "Hero" simultaneously sings art. For him it is not only the usual painting and music, but also calligraphy, oriental martial arts. Only the thoughtful and persistent open all the secrets of skill. This is the East, nothing is done here.
Mass scenes are striking in scope: the director shows how a great empire was born. And the Nameless One must understand: “Everything is under heaven.” The end of chaos and war will come when the provinces, whose interests are advocated by the heroes of the novels, abandon their claims. A united China is power and strength. All sacrifices are justified for a great cause. There will be peace and no one will shed blood. It is a manifestation of weakness, and a true warrior is wise.
The Great Celestial Empire is what the Chinese believe in: from a high-ranking official to a peasant from a poor village. Imou, one might say, voiced a national idea. Not one, two. The second is that willpower decides a lot. Turn to the goal, clenching your teeth - quite in the Chinese spirit.
A hero doesn't kill. It doesn't break walls, it doesn't break bones. He is the one who has abandoned stereotypes and begins to think freely, breaking free from the captivity of prejudice. The truth is revealed to him. The one in the “last resort”, for which you can sacrifice your life. For all life is the road to truth. But few achieve their goal.
China, third century BC. The powerful Ying Jen, ruler of the Qin kingdom, wages bloody wars with six neighboring kingdoms, seeking to unite them into a great empire. The lives of the wise strategist and warrior are incessantly threatened by assassins, but only three of them – Broken Sword, Flying Snow and Sky – inspire real fear in his heart. Their art of fighting is unmatched, and for 10 years the reward promised for their heads has remained intact.
But one day, the Nameless Warrior enters Qin Palace. He is ready to tell the future emperor the incredible story of how invulnerable mercenaries found death at the tip of his blade. However, the great ruler becomes aware of the true reason for the visit of the mysterious guest. He learns the truth about the Nameless and about his collusion with three imaginary opponents.
The conversation with the emperor forms a kind of frame, fastening several retrospectives - duels with murderers. In the story of the guest, more like a fairy tale, truth is difficult to distinguish from fiction. One story complements, corrects, or even cancels another, just as in Rasemon. But the emperor has his own version.
Each story is given in a new color - from crimson to blue and transparent white. In the course of the story, seen through the eyes of different characters, it appears so and so, but what happened in fact is not so important. The main thing is that one of the interlocutors leaves the imperial chambers as a hero.
51-year-old Chinese classic Zhang Yimou presented the world with a film close to perfection. He assembled major Asian actors, with the exception of his former muse, Gong Li. Invited an outstanding cameraman, knocked out of the producers 30-million budget and shot a choreographic fantasy on the theme of oriental martial arts, consisting of a series of fights even more intricate than in “Crouching Tiger” by Anga Lee.
Imou made such a large-scale film for the first time, challenging Bertolucci’s “The Last Emperor”, his compatriot Kaige’s “Emperor and Murderer” and even the parallel “Lord of the Rings”. As a result, the story about the unification of China and the attempted assassination of the Chinese emperor captures as if you watch all these films together.
Hero takes Kung Fu films beyond the teenage subculture into the world of cinema, as an art complexed for many years because of its secondary nature. What happened here is nothing but magic.
The film “Hero”, of course, is very peculiar for the perception of the European audience. At least for those who do not have a deep knowledge of Chinese culture. However, this work of Zhang Yimou is really worth seeing. At least for the sake of general development.
“Hero” is a bizarre historical-fantasy mixture of incredibly colorful retrospections, saturated with samples of the Chinese worldview. The scenery, music and philosophy are the most important components of the picture. Undoubted advantages of "Hero" include a fascinating picture, beautiful music and a classical detached and calm view of the world, rightly attributed to the Chinese and Eastern peoples in general. The color scales of the tape are strictly aged, weighed and characteristic. The general background of the scene of the picture, quite possibly, will delight any aesthete.
The battle scenes are very well shown. Much is worth the episode in the denouement of the picture, when the ruler Qin hands the Nameless his sword and offers to do with this sword at his discretion. However, not the whole idea of “Hero” will be acceptable to the European. After all, the director clearly hints at the salvific role of the “hard hand” and the pettiness of the fate of an individual compared to the future of the state. At the same time, the patriotism shown by the heroes of the film inspires respect.
The actors who participated in the film played well. This applies more to the Broken Sword (Tony Leung Chu Wai), Flying Snow (Maggie Chun) and the ruler of Qin (Cheng Daoming); in the lesser to the Nameless (Jet Li) and the Sky (Donnie Yen). The episodes, which reveal the relationship between the Broken Sword and the Flying Snow, were very touching and exciting. Against this background, the heroes of the Nameless and Heaven looked dull.
In general, "Hero" can be considered a quality and informative film. Except that the action of the tape is clearly delayed.