Hero

One can almost automatically pick up on director Zhang Yimou’s attraction to vibrant colors and scenic settings in his film, Hero. Zhang creates structure in his film by using different colors. Each “story” and the description of order of events depending on the different perspectives had its own identifying color. Although, Zhang claims that there is no meaning to the different colors he uses, in my opinion his use of color sets the mood to each scene and influences the way the audience relates to the characters and the story itself. For instance, in the first version of the story told by Nameless, there is betrayal, passion, and deceit and these emotions are magnified by Zhang’s use of the color red. Next, the second version told by the King shows a more planning and scheming involved in Nameless’ attempt to kill the king and this businesslike approach is reflected through Zhang’s use of a more subdued and serious color – blue. In reality, all the characters made a lot of sacrifices and both Broken Sword and Flying Snow end up dying, and this reality is portrayed with the use of white. White signifying the purity of each individual and like Pauline Chen said – the color of mourning and death.

In addition to Zhang’s attention to color, there were also several panoramic scenes that were similar to those of Yellow Earth. For example, both the scenes where Nameless walks up the stairs to the palace and where Broken Sword and Flying Snow die together reflect the Daoist practice of having tiny people surrounded by an enormous shot of nature. When Broken Sword and Flying Snow die, they are on a small cliff and surrounded by miles and miles of a canyon. All of Zhang’s aesthetic techniques dramatize the film and make it more memorable and entertaining. This is also the case for the martial arts in this movie. The martial arts aspect adds intensity and action to the film. During fights, the characters defy the laws of gravity by flying around and performing impossible moves. All of these factors contribute to the entertainment aspect of the film, and show how Zhang incorporated both traditional Chinese techniques, such as the panoramic scenes, as well as Western influences, such as the theme of martial arts and the magnification of sounds and sights (blood and water) to attract a larger audience and compete with modern Hollywood films. Viewers must be careful, however, to realize the underlying currents of political commentary.

The film seems to be strongly reminiscent of the past and of the Mao era in which collectivism prevailed and people were conditioned to think about the greater good. The protagonist of the film, the king, was the individual working to unite China, whereas the antagonists were the 4 individuals who had broken away from society and were trying to assassinate the king. This portrayal in and of itself sheds a negative light on individuals. Also, there are many scenes in which groups of soldiers are shown marching together. In one of the first scenes were Nameless arrives at the palace; there are rows and rows of people awaiting him outside of the palace. As the movie progresses, we learn how Broken Sword abandoned the first plan for the greater good. He educates Nameless on the principles of calligraphy and gives him two characters meaning “All Under Heaven.” This message furthers the idea that we should all be united and that all of China needs protection by the king. In the end, Nameless also abandons the plan because he realizes that killing the king would only satisfy his own goals, but by sparing the king, he would be doing something for the greater good. All in all, it seems as if this film highlights the positive aspects of socialism and the collective. It sends the message that the greater good should prevail over individual desires.

Ultimately, the cinematography of this film was excellent and the storyline was definitely engaging. Regardless of the controversial theme of utopian socialistic ideals, this film was overall very entertaining and it sent out a good message of being selfless.