Film Review: Hero (2002)

The 2002 film Hero, directed by Zhang Yimou, is a landmark in cinematic history, celebrated for its visual splendour and cultural resonance. While “style over substance” ethos is derided as frivolous or pretentious when employed by mainstream Hollywood often derides the, it is celebrated when employed by non-Hollywood cinema, including Chinese. Hero exemplifies this duality: a film that, while undeniably visually stunning, is also critiqued for its narrative complexity and cultural specificity. As a historical martial arts epic, Hero is a testament to Zhang Yimou’s ability to blend aesthetic grandeur with narrative ambition, even if its reception in the West has been mixed.

Set in ancient China during the Warring States period (475–221 BCE), Hero is loosely based on the real historical event of 227 BCE, when the Qin State, under King Zhe, was close to uniting China through a series of military campaigns. The film’s plot revolves around the attempted assassination of King Zhe by a group of assassins, led by a fictional character named “Nameless,” who is inspired by the historical figure Jing Ke. The Warring States period, marked by the fragmentation of China into seven rival states, is a central theme, as the film explores the tension between chaos and unity. The Qin State’s eventual conquest of the other six states, culminating in the founding of the first Chinese empire, is a historical inevitability, but Hero reimagines this as a narrative of personal sacrifice and ideological conflict.

The film’s central character, Nameless, is a fictionalised version of the historical Jing Ke, a figure whose failed assassination attempt on King Zhe became a symbol of futility and tragedy in Chinese history. In the film, Nameless is a Qin prefect who tracks down three assassins—Sky (Donnie Yen), Broken Sword (Tony Leung), and Snow (Maggie Chgeung)—who previously infiltrated the Qin palace. His success in defeating these killers is a ruse, as he is ultimately determined to kill King Zhuang for revenge against the Qin State. The film’s plot is built on a web of unreliable narrators and a Rashomon-like structure, where the audience is left to piece together the truth of Nameless’s motivations. This narrative complexity is both a strength and a weakness, as it demands viewer engagement but risks confusion, particularly for Western audiences unfamiliar with the historical and cultural context.

If Hero is described by a single word, it is “beautiful.” Zhang Yimou’s film is a visual masterclass, with a palette of vibrant colors and meticulously crafted scenes that evoke the grandeur of ancient China. The film’s use of color is a deliberate choice, with a palette that avoids the “orange and teal” schemes common in Hollywood blockbusters. Instead, the film employs a rich, saturated colour scheme that mirrors the natural landscapes and costumes, creating a sense of immersion. The cinematographer Christopher Doyle plays a pivotal role in this aesthetic, using long takes and sweeping shots to emphasize the scale of the film’s world. The film’s visual style is a departure from the hyper-stylized, often artificial look of Western cinema, offering a more organic and culturally rooted visual language.

While Hero avoids the epic battles typical of Western action films, it emphasizes individual combat, a hallmark of Chinese wuxia cinema. The film’s martial arts sequences are choreographed with a blend of realism and fantasy, using wirework to create impossible feats—characters flying through the air, walking on water, and duelling in mid-air. These sequences are not just for spectacle; they are a reflection of the film’s cultural ethos, which values the individual’s agency and the moral ambiguity of action. The film’s use of violence is minimal, with little bloodshed, a choice that underscores the film’s focus on the psychological and emotional dimensions of conflict rather than physical brutality.

The film’s success is also owed to its performances and soundtrack. The actors, including Jet Li, Donnie Yen, and Tony Leung, bring a level of emotional depth and physicality that elevates the film’s narrative. Jet Li’s portrayal of Nameless is particularly striking, blending martial arts prowess with a tragic, almost theatrical intensity. The film’s soundtrack, composed by Tan Dun, is a defining element of its aesthetic. The use of traditional Chinese instruments, such as the erhu and pipa, creates a soundscape that is both haunting and evocative, enhancing the film’s cultural and emotional resonance. Tan Dun’s music is a masterclass in blending Western orchestration with Eastern sensibilities, creating a score that is as much a character as the film’s visual elements.

Despite its visual and aural triumphs, Hero is not without its flaws. The film’s narrative is a labyrinth of unreliable narrators and a Rashomon-like structure, which can be bewildering for Western audiences. The film’s plot is built on a series of conflicting accounts, with the audience left to determine the truth of Nameless’s motivations. This narrative complexity is a deliberate choice, reflecting the film’s cultural context, where history is often a contested narrative. However, for viewers unfamiliar with the historical and philosophical underpinnings of the Warring States period, the film’s plot can feel convoluted and confusing. The film’s reliance on cultural references and historical events may alienate viewers who lack the cultural literacy to appreciate its subtleties.

The film’s ending is both a triumph and a controversy. The assassination of King Zhe fails, not because of lack of effort, but because Nameless and his conspirators realize that a unified, authoritarian state is preferable to the chaos of a divided China. This moment is interpreted by some as an allegory for modern China’s political system, with the film’s narrative suggesting that individual freedoms must be sacrificed for national unity. This interpretation has been met with controversy, particularly in the West, where the film is often viewed through a political lens. While Zhang Yimou has denied any political subtext, the film’s ending has been seen as a subtle commentary on the balance between individual agency and collective stability. This duality—of artistic expression and political symbolism—has made Hero a subject of debate, with some critics arguing that its success is more a reflection of its cultural context than its cinematic merit.

Despite its critical acclaim and box office success, Hero is not universally regarded as a groundbreaking masterpiece. Its reception in the West has been mixed, with Miramax, the distributor, hesitating to release the film until after a public campaign by Quentin Tarantino. This delay highlights the film’s cultural and political sensitivities, as well as the challenges of translating a film rooted in Chinese history and philosophy into a global audience. In China, the film was a commercial and critical success, reflecting the nation’s confidence in its cinematic identity. However, in the West, Hero is often viewed with skepticism, its success attributed more to cultural resonance than cinematic innovation. This dichotomy underscores the film’s role as a cultural artifact rather than a universal masterpiece, a testament to the power of storytelling in shaping cultural narratives.

RATING: 7/10 (+++)

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