Hero (2002) Analysis *Spoiler Alert*

Story & Narrative

“There was a discussion once whether this film should be called Hero or Heroes. I think that’s an important choice.” – Christopher Doyle, cinematographer on Hero.

The narrative structure of Hero (2002), inspired by Rashomon (1950), is highly unusual as it gives three different versions of the same story. Each version is colour coded, one red, one blue and one white with a black themed framing device and a flashback in green.

The film begins with an opening scrawl, giving the audience some historical context for the film. Set two thousand years ago during the warring states period we are told that it is a time of death and suffering for the populace. The score begins with Japanese drums and traditional Chinese stringed instruments. The first images we see are of horse's hooves reminding us of a more primitive time before modern technology. We see mountaintops and soldiers in ancient armour carrying banners. From the very beginning we are shown the military might of the King of Qin.

We are introduced to the protagonist. Orphaned at an early age his background is a mystery. He had no name so people called him Nameless. After ten years of sword training he has acquired a unique skill and his deeds have amazed the Kingdom. What skill has he acquired and what deeds has he performed? He has apparently killed three of the King's deadliest foes Sky, Flying Snow and Broken Sword. The King of Qin is surprised a lowly official managed to defeat three highly skilled assassins. This mystery becomes the basis of the film.

Looking at the opening I discerned a number of binary opposites

Exterior - Interior
Light - Dark
Individual - Group
Powerful - Weak
Clothed - Naked
Near - Far
Armed - Unarmed
Informed - Uniformed
High - Low

In Chinese philosophy the concept of yin and yang teaches that everything contains dualities, light - dark, young - old, feminine - masculine etc. Together these forces are greater than when separated and one is incomplete without the other.

The whole film could be seen as one long action code. One of the most unusual aspects of the action sequences is that many of them only take place in the minds of the characters. The fights therefore are overtly symbolic. The blue sequence for example exists only in the imagination of the King. He imagines this fight took place not because of a mutual hatred but because of a mutual respect between the two men and a respect for Flying Snow. The fight resolves without a winner. They are content simply to go through the honourable motions.

The problem with applying Propp's theory of character roles on the film Hero is deciding who the hero of the film is. Each character is heroic in their own way. As the story progresses the points of view of the characters change so that the line between hero and villain becomes blurred. Nameless is the protagonist so might viewed as the titular hero. The villain therefore would be the King who he plans to kill but by the end of the film Nameless gives up his desire to assassinate the King and is himself killed. Sky, Flying Snow and Broken Sword might all be seen as donors as it is by gaining their weapons that Nameless gains an audience with the King. In the red version Flying Snow could be seen as a villain but in the blue she is a helper. In the final white version she has attributes of both. By the end of the film three of the main characters are dead, having sacrificed their lives and former desires for a greater good.

The character of Nameless starts off with a plan to avenge his family by killing the King of Qin but by the end of the film he has done a complete 180. His old equilibrium, his desire for vengeance is replaced by a new equilibrium, his desire for peace. This dramatic change was influenced by the character Broken Sword who goes through a similar change himself. Broken sword and Flying Snow start off wanting to kill the King. This shared goal bonds them and they become lovers. However after practising swordplay and calligraphy for some time Broken Sword comes to a realisation. He decides that the King should not be killed because he is the only person who can bring peace to the land. His new equilibrium forces a rift between him and Flying Snow. All three characters start off vengeful but after a period of disequilibrium they each decide to give up their own life. Their noble deaths become their new equilibrium.

https://www.youtube.com/watch?v=KeTBqolcrO8

Casting

Following very much in the mould of Crouching Tiger, Hidden Dragon (2000), Hero uses a number of non-action actors in action roles. In fact Jet Li and Donnie Yen are the only two martial artists in the film.

Jet Li is the only actor mentioned in the US trailer. His last five films prior to Hero averaged around $17,000,000 out of the gate and he was the most familiar face in the film to Western audiences. Before moving into film Jet Li was a martial arts champion winning 15 gold medals in his sport.

Donnie Yen also trained in martial arts from a young age and was chosen by Jet Li for the character of Sky. The fight between the two stars was much anticipated by fans of martial arts films. The last time the two had fought onscreen was in Once Upon a Time in China II (1992) a successful sequel in Hong Kong that managed to exceed the original’s box office takings.

Tony Leung and Maggie Cheung are both Cannes Award Winning actors. They had previously starred together in Wong Kar Wai’s In the Mood for Love (2000) which ranks as one of the most critically acclaimed film’s of all time. The relationship between their two characters is integral to the plot of Hero and adds some emotional depth to the visual splendour.

Zhang Ziyi was a trained dancer. Her first major role was in Zhang Yimou’s The Road Home (1999). She later starred in Crouching Tiger Hidden Dragon.

Colour

“Part of the beauty of the film is that it is one story coloured by different perceptions.” – Christopher Doyle.

Colour is central to the aesthetic of the film and is one of its most memorable aspects. Director Zhang Yimou, who himself trained as a cinematographer, was incredibly exacting. He reportedly had the horses painted black to match the soldier’s armour and employed Mongolian nomads to gather yellow leaves and separate them into four different classes of quality. In the green sequence the colour of the curtains hanging in the King’s hall had to be digitally altered to achieve the exact shade Yimou wanted.

https://www.youtube.com/watch?v=p9keMBIyPnA

Costume

“A Hero is independent and solitary. He is the one who lives for one's country. He has a superior ability but he is also a human being of flesh and blood.” — Emi Wada costume designer on Hero.

All the costumes in the film were manually dyed. The colours used were so central to the film that the Cinematographer changed the type of film he used during the red sequence to fully represent the shade of saturated red. The black costumes of the King’s courtiers and soldiers removes their individuality. They are one black mass and even speak as one. Their collectivist nature contrasts sharply with the individuality of the main characters.

Such is his fear of assassination that the King wears his armour at all times. Compare this with the characters of Broken Sword and Flying Snow who wear long, elegant gowns. The flowing material of their costumes accentuates the grace and beauty of the actors during the fight sequences.

https://www.youtube.com/watch?v=2eXbS-qG2GA

Hair & Make-up

Colour is not the only way in which the different stories are delineated. Looking specifically at the characters of Flying Snow and Broken Sword we see subtle changes in hair & make-up in each colour coded sequence. For example in the red version both characters wear there hair loose and side parted so that often only one eye is visible. This gives them a sense of mystery and seductiveness. Flying Snow’s make-up is particularly bold with bright red lipstick and prominent black eyeliner. In the red section the characters are at their most passionate and emotional.

In the blue section both Flying Snow and Broken Sword have their hair tied back. Flying Snow has an especially intricate style. The character’s as they appear in this segment are dignified and full of valour. The eye make-up is subtler and the lipstick a more muted shade.

In the white segment flying Snow’s hair is only half tied back. The make-up in this section is the most natural which is fitting as this is the real version of the tale, the naked truth.

Setting

The film is truly of epic proportions. From the lakes of Juzhaigou to the deserts of Western China and the forests of Mongolia, 60% of the film was shot outside. Many of the locations were remote and difficult to film in, for example the crew had to get up at 5am and travel 2 ½ hours to reach the lake in the blue sequence. Zhang Yimou wanted to film when the water was still which was only between the hours of 10-12. It took over 20 days to film!

https://www.youtube.com/watch?v=57TliyF8MFI

The vibrant beauty of the natural world is contrasted sharply with the cold, stark, colourless interior of the King’s court. At the time of filming the King’s palace was the largest movie set ever made in China.

Soundtrack

“Great film music is supposed to be words or meaning that the director wants to say but he has no way to say it.” -Tan Dun, composer on Hero.

Before working on Hero Tan Dun had composed symphonies and operas and won an Oscar for his work on Crouching Tiger, Hidden Dragon (2000). The score seamlessly blends the sounds of Japanese drummers Kodo, the violin virtuoso Itzhak Perlman and Liu Li who plays the guqin a traditional Chinese instrument.  

Almost as important as the musical score are the diegetic sounds that appear in the film. The sound effects are crucial in the fight scenes to convince the audience that each blow really lands.

https://www.youtube.com/watch?v=AeeoEpmyb2Y

Conclusion

“A few years later if someone mentions Hero you are going to remember the colours. You are going to remember in a sea of golden leaves two ladies dressed in red are dancing in the air… on a lake as still as a mirror two men are using their swords to convey their sorrow… like two dragonflies.” – Zhang Yimou, director of Hero.

This film is visually stunning, emotionally moving and a real pleasure to watch. It is pure cinema. The combination of all the aforementioned elements under Zhang Yimou’s exacting eye makes it one of my all time favourite films. It is a truly unforgettable film.