RMiller wrote:I don't see why you guys liked it so much. Maybe if I was Asian I would appreciate it more for it's historical significance (however true that may be, I have no idea). The best aspect and the only thing I liked about the movie was the use of colors, which was amazing. Everything else was, well, blah. I almost fell asleep.
The talents/abilities in the fight scenes are just way too far out there. Are they supposed to be able to fly? Or can they just jump really high and get lots of hang time? People in the theatre were laughing, especially at the part where Nameless and Broken Sword were fighting and dipping their swords in the water like french fries in ketchup over and over and over again, supposedly to keep them airborne.
I'd have to say that many of the Eastern concepts, symbolism and ideas prevalent will not resonate with American audiences as they would with someone of/familiar with Asian culture.
Judging from your post, I'll assume you're neither.
For starters, Hero is an example of a "Wuxia Pien" film genre which include films like Crouching Tiger, Hidden Dragon, Peking Opera Blues, Bride with White Hair and other classics. Wuxia Pien is a narrative genre that draws heavily from Chinese mythology and the more esoteric aspects of martial arts and thus comparable to Greek, Roman mythology. Wuxia films are derivative of their stage ancestors, where they were thematically dramatized in Chinese opera's with perfomers employing martial arts and performing acrobatics on-stage. These stories are China's superhero tales and I find it ironic how Americans would lampoon this movie yet a movie with a guy in spider suit, soaring through the NY skyline is one of the biggest box office smashes ever. Suspension of disbelief people!
Hero isn't without its flaws, but there's a lot to like/respect/admire. The magnitude of the actors in this film will probably be lost on those unfamiliar with Asian cinema. In the States, Jet Li is just another chopsocky Chinese guy relegated to the hip-hop heavy B-movies. But in Asia, this man's regarded as a living-legend and rightfully so, a martial arts champion in real life he's starred in some of the greatest martial arts films of our era - the immortal Once Upon a Time in China series, Shaolin Temple, Fist of Legend (which is a superior remake of Bruce Lee's Chinese Connection), etc. And the significance of of the Nameless/Sky (Jet Li/Donnie Yen) fight is that it's a reprisal of their legendary battle in Once Upon a Time in China II which some consider one of the greatest onscreen fights, ever. This is something on the scale of a John Wayne/Clint Eastwood gunfight.
And again, the cinematography was brilliant. There's the effective use of colors and chromatic shifts in rendering the characters emotional/psychological states. The colors themselves themselves bear great significance to anyone familiar with chromatic symbolism of fuedal China. The culmination of dazzling cinematography, the fluidity of the choreography and effortless performances by the actors results in IMO a beautiful, operatic ballet of blades, a moving painting if you will.
Hero's rife with postmodernist nods to classic films of the Wuxia genre (Dragonn Inn, Ashes of Time, Swordsmen) as well as the works of Akira Kurosawa (the arrows sequence was a nice nod to Ran, the suggestion that the nature of truth is something less than an absolute echoes Rashomon) to the classic Westerns of John Ford and Sergio Leone. Also love the slick editing - the story unfolding in non-linear, flashback sequences.
Americans gut the watered down 90-minute version while most in Asia have seen the superior 120-minute director's cut.
Regardless, one need not be a dyed-in-the-wool cinephile to appreciate this film, it flat out kicks ***. Glad I saw both Hero and Collateral in theatres this summer since they're probably two of the artsiest movies to hit American theatres in a looong time.