Film Review: Battle of Wits (Battle of the Warriors, 2006)
China possesses a history that spans several millennia, characterised by immense complexity, profound philosophical traditions, and periods of extraordinary cultural flourishing. Despite the pervasive discourse of globalisation that permeates modern entertainment, it remains a curious fact that Western authors have rarely looked to this rich tapestry of history for inspiration. That mantle, however, has been picked up and carried forward by China's neighbours in East Asia. One of the most eventful and dramatic periods of Chinese history—specifically the Warring States Period—served as a primary inspiration for the Japanese author Ken'ichi Sakemi, who wrote the 1991 novel Bokko. The novel itself underwent a fascinating transformation, being adapted into an eponymous manga series published between 1992 and 1996. Finally, in 2006, Cheung Kong Film Group and other production entities brought this epic narrative to the big screen in the form of Battle of Wits, directed by the Hong Kong filmmaker Jacob Cheung. As a lavish international production, it is one of the most ambitious period epics of East Asian cinema at the time, attempting to capture the grandeur of ancient warfare through a modern lens.
The plot is det against the backdrop of the Warring States Period, a chaotic era in which China was fractured into seven de facto independent states. This fragmentation led to almost endless warfare, yet paradoxically, it fostered an intellectual renaissance that gave birth to the country's most influential schools of thought: Confucianism, Daoism, Legalism, and Mohism. The film’s original Chinese title, “Mo gong,” literally translates to “Mohist attack,” a title that immediately signals the central role of the final philosophy mentioned. Mohism, based on the teachings of the 5th century BC philosopher Mozi, was a radical movement that stood in stark contrast to the ruling elites. Its followers—the Mohists—were organised into a unique hybrid of a religious order and a paramilitary group. Renowned for their intellectual services and strategic acumen, they were known for devising military strategies and engineering solutions that prioritised the welfare of the common people over the glory of the state.
At the heart of the narrative stands the protagonist, Ge Li, portrayed by the prolific Hong Kong actor Andy Lau. Lau, best known for his work in Infernal Affairs, handles a slightly enigmatic role that requires him to be a scholar turned military expert. The story is set in the year 370 BC and begins with the state of Zhao launching a massive campaign against the state of Yan. Caught in the crossfire is the small, independent city-state of Liang. The city is besieged by the formidable general Xian Yanzhong, played by the South Korean actor Ahn Sung-ki. The King of Liang, portrayed by Wang Zhiwen, is initially convinced of his city's inevitable defeat and is willing to surrender. It is here that Ge Li arrives, the sole Mohist who heeded the city's desperate plea for help. He argues passionately that the Zhao army can be defeated simply by weathering out the siege for a month. His logic is sound: Zhao’s primary target is Yan, and Xian Yanzhong cannot risk wasting time and manpower on a secondary target like Liang. Ge Li’s strategic views are accepted, and Liang prepares for defence. Ultimately, the strategy proves correct, with both Zhao attacks repelled and heavy casualties inflicted upon the invaders. Xian Yanzhong orders a retreat, and the success of this defence makes Ge Li popular among the people and soldiers, as well as the King’s son, Prince Liang Shi (Choi Si-won).
However, this success breeds jealousy among the King's ministers and officers, who accuse Ge Li of plotting rebellion. Ge Li is arrested but manages to escape, only to discover that Xian Yanzhong had only feigned retreat and now plans to capture the city by surprise. This sets the stage for the film's escalating tension.
Directed by Jacob Cheung, Battle of Wits was a massive undertaking involving production companies and a vast array of talents from Hong Kong, mainland China, South Korea, and Japan. The large budget is quite evident on the screen, particularly in the spectacular battle scenes. While the actual combat might not be as grand and visually overwhelming as in later epics like Red Cliff, it is, in many ways, more convincing. Cheung made a conscious decision to avoid heavy CGI, preferring instead old-school practical effects and the construction of actual sets. This approach lends the film a gritty realism and a high level of detail that helps immerse the audience in the exotic world of ancient China.
The script, much to its credit, keeps the plot relatively simple. The conflict, regardless of how spectacular it might look, is essentially a minor two-sided affair between attackers and defenders. However, internal politics in Liang complicate things significantly, allowing for interesting plot twists. Yet, the film also features subtle yet poignant bits of anti-war themes, notably by showing scenes of ordinary peasants being caught in the conflict between feudal lords, highlighting their suffering. Characterisation is generally avoided being black-and-white; both sides commit dishonourable acts to survive, but the protagonist remains the moral anchor.
Andy Lau delivers a performance that is central to the film's tone. As the enigmatic Ge Li, he is something resembling the film’s moral compass. He is not merely a warrior but a man guided by a higher ethical code, which makes his struggles all the more compelling. The script, however, has to pair him with a character of Yiyue, a female cavalry commander played by Fan Bingbing. It is evident she was brought solely to prevent the film for having an all-male cast. Her relationship with Ge Li, despite remaining platonic, adds some unnecessary melodrama to the mix. While the chemistry is present, this subplot occasionally distracts from the strategic and philosophical core of the film.
The film’s ending is slightly confusing, and features perhaps a little bit too many twists that look suspiciously like a deus ex machina. It is, however, refreshingly downbeat. The protagonist, although surviving and achieving what he came to do, is left to ask himself whether the price was worthy of such carnage. The film concludes with a haunting image of him leading children from the city, a stark reminder of the human cost of his victory.
Ultimately, the film’s biggest flaw is its near-complete lack of historical exposition. This would make the plot hard to comprehend to viewers unfamiliar with ancient Chinese history. Even more damaging is the lack of information and explanation regarding Mohism itself—the actual ideology and ethical system that guides the protagonist. To a certain degree, Mohism itself is slightly responsible for this issue; despite being fascinatingly progressive in context of its time, it was removed from history with the Qin unification of China in the 3rd century BC. The ideology withered away and was gradually absorbed into various strands of its rivals like Confucianism and Daoism. Yet, that doesn't absolve Cheung from failing to address this issue. By neglecting to educate the audience on the significance of these philosophies, he deprived Battle of Wits from becoming a classic of the genre, leaving it as a technically proficient but narratively obscure spectacle.
RATING: 6/10 (++)
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