What It's About.
Well, it's hard to say. It's not that it's hard to follow, it's just the same story is told several times. Each time, a layer of truth is revealed until we get to the point of it. But more or less the tale is as follows: It is a story is set in ancient China, when China was not even China yet but just a collection of various warring kingdoms. Broken Sword (Tony Leung Chiu Wai of IN THE MOOD FOR LOVE, HARD BOILED, CHUNKING EXPRESS) and Flying Snow (Maggie Cheung Man-Yuk of IN THE MOOD FOR LOVE, CENTRE STAGE and the POLICE STORY movies) are former lovers who once tried to assassinate the Emperor of Qin (Chen Daoming of INFERNAL AFFAIRS III) and now live in the outskirts of the kingdom in a calligraphy school. Moon (Zhang Ziyi of CROUCHING TIGER, HIDDEN DRAGON, THE ROAD HOME and RUSH HOUR 2) is an apprentice at the school and also in love with her teacher Broken Sword. A swordsman known only as Nameless (Jet Li of ....you know who Jet Li is) tracks them down at the calligraphy school to challenge the assassins after dueling with their friend and associate Sky (Donnie Yen of SHANGHAI KNIGHTS, BLADE 2 and IRON MONKEY). It is loosely based on the real Emperor of Qin, but there is obviously a lot of license taken by director Zhang Yimou.

What It's Really About.
As noted, the same story is told four times and each time we get closer to the truth. But the last layer is supposed to represent "Enlightenment." It is a level beyond the truth of the story. Or at least a level that reveals more than just fact. And this movie is about the Enlightenment of the major characters. You may not have to agree with the conclusion they come to, but you accept that they believe it. And while several of our characters are stirred by simple revenge, the enlightened characters follow their ideologies instead of their base desires. This brings them into conflict within themselves and also damages their personal relationships.

Sure, this is one of those movies about 'the principle of the thing'. And it's about the greater good. But it's not all high minded ideals. For instance, Broken Sword has sex with his apprentice in front of Flying Snow to get her back for wanting to avenge the death of her former lover Sky. So Flying Snow kills Broken Sword and then the apprentice must avenge him - and this all happens in the course of about 10 minutes. The tradition of wuxia (Chinese martial arts fiction) melodrama is upheld, but this is only one telling of the story, and the high minded ideals return as Zhang Yimou then subverts this melodrama as we get closer to the truth.

When the movie came out, there was a lot of speculation that what the movie was really about was Tiananman Square. And that it proposed that the government was right in what it did. It is easy to see the parallel, whether it was intended or not. And this would certainly be a very unpopular stance, at least here in America. But Zhang Yimou never confirmed this rumor and I think it's unfair to relegate this film to just being about that one issue.

Different for Zhang Yimou.
The feel of the film is not entirely what we expect from him. Zhang Yimou borrows a cinematographer (Christopher Doyle) and 3 main actors (Maggie Cheung, Tony Leung, Zhang Ziyi) from Wong Kar Wai, who was working with them before and after the filming of HERO, on 2046. Wong Kar Wai is a director known for his lyrical and idiosyncratic movies, but Zhang Yimou collaborates with these people to create something all their own. This film truly stands out from his catalog of already outstanding films. I think some of this film's very deliberate style was inspired by the opera TURNADOT by Puccini. Zhang Yimou spent years bringing it to the stage first in Florence, then in Beijing. The making of which is preserved in the documentary THE TURNADOT PROJECT. It was a undertaking of grand proportions which Zhang colored with lavish sets, hundreds of extras and the grand music and themes that could only be created by Puccini. In HERO, the scenes with the Emperor in his palace are innately presentional, as custom demanded. But I feel like I'm sitting in an audience in front of a gigantic stage. HERO is Zhang Yimou's opera, but instead of dancing and singing there is wondrous kung fu and swordplay. And it is as lavish as his real opera, with huge sets, hundreds of extras and heavy themes.

Another big difference for Zhang was his choice of genre and his choice of actors. Previously, he spent ten years in collaboration with his longtime girlfriend, the luminous Gong Li. And as fruitful as this collaboration was (yielding two Best Foreign Film Oscar nominations), I think the breakup has served him well (a break rumored to be caused by Zhang Yimou (in his 50s) taking up with his ingenue Zhang Ziyi (in her teens), gaining her the derogatory nickname "Little Gong", but it was never confirmed, and this is not a rumor website, so take that information as you will!). His work since then has been amazing and innovative (in all honesty, I get most of the Gong Li films mixed up in my memory). He has done three other films after Gong Li and before HERO. THE ROAD HOME (1999) is so simplistic - in contrast to a regular lush Zhang Yimou period piece - and subsequently the themes are simplistic, but it's very beautiful. And NOT ONE LESS (1999), while not being quite as charming, is similarly simplistic and true to its themes. It gets rid of all the unnecessary film elements and retains a strict focus. These two films - along with HAPPY TIMES (2001) - focus on real Chinese people and do not delve into the indulgences of his previous pictures. It is clear that Zhang Yimou, after a decade of acclaimed filmmaking, continues to try different things.

The Cast & Crew
It is almost not worth reviewing the performances of Tony Leung and Maggie Cheung, because they are always terrific. But I think Tony Leung is particularly sparkling here. We hear a lot about his character and his complicated past, and he wears it all on his face. Zhang Ziyi was 'found' by Zhang Yimou, and the talk from the set is he pushes her like a master would his student. She is not given much of a character here, a lot of staring and crying, but she turns in a solid and emotionally revealing performance that cements her as a great young actress. Donnie Yen is not often seen in such serious roles and he is really just in this movie to fight, but even he does a fine job with his memorable scene.

With such internationally known heavyweights, Chen Daoming, a relative unknown outside of Chinese television, holds his own. And it's not easy. He is the Emperor, and he shows himself to be worthy of that title. He must tower over his would be assassins and their screen images, and he does. He delivers a performance and emits a power that is truly worthy of the historical image of the man he is portraying. He is always in huge spaces, and he owns them - it is clear he is in charge. All this and he came on the project relatively late after the original actor, Jiang Wen, dropped out.

Cinematographer Christopher Doyle brings a distinctive stamp to whatever he does, even though he works with such distinctive directors. This film is a visual masterpiece. The Director, Art Director and Cinematographer seemed to be in perfect harmony in creating a visual spectacle like you've never seen before. A scene where the Emperor of Qin and Broken Sword fight, then stand at odds while the banners fall down around them is absolutely stunning. Doyle never missteps, and it would be great to see his work get more recognition outside of Asia and Australia.

As for composer Tan Dun, he created something unique with CROUCHING TIGER, HIDDEN DRAGON and does not quite recreate it to the same effect here (this time featuring Itzak Perlman on violin instead of Yo-Yo Ma's cello). But nonetheless, it is appropriate music and may have been received better by me if I hadn't seen and heard CROUCHING TIGER, HIDDEN DRAGON so many times.

As for the fighting - well, it's good, but it's not that good. Originally, Yuen Wo Ping was intended as choreographer. Jet Li and Yuen Wo Ping have not worked together since 1996's BLACK MASK (although they are finally reteaming on this year's Danny The Dog!). I think these two together are one of the best collaborations in film history. Jet Li is one of the few people who can actually carry out the extent of Yuen Wo Ping's admirable mind. But Yuen Wo Ping had to turn it down because of his commitments on THE MATRIX sequels and KILL BILL. So Zhang Yimou turned to Siu-Tung Ching, who directed Zhang Yimou as an actor in 1989's TERRACOTTA WARRIOR and with whom he has not collaborated since. Siu-Tung Ching also previously worked with Jet Li in SWORDSMAN II and Maggie Cheung in THE HEROIC TRIO. He acquits himself well and has outstanding talent to work with. His style is often quite different than Yuen Wo Ping, it's usually harder and less lyrical. But with Zhang Yimou's direction, his choreography cannot help but seem lyrical and his harder style gives the action a more realistic edge than you might find in THE MATRIX or CROUCHING TIGER.

Crouching Tiger, Hidden Dragon
It's easy to draw comparisons between HERO and CROUCHING TIGER. They share a Composer, a Costume Designer, a Producer and a Zhang Ziyi. HERO stars Jet Li, which is who the filmmakers of CROUCHING TIGER intended for Li Mu Bai, but Jet Li was busy filming his Hollywood debut, ROMEO MUST DIE. The films share similar scenes where they compare calligraphy to swordplay, or where various characters take out swords and stare at them, and lovers who want to be together and for no obvious reason cannot be together. But while Crouching Tiger had a lavishness about its story, HERO has a straightforwardness even in its convoluted structure. HERO starts with Nameless narrating his background in a couple lines; versus CROUCHING TIGER, which begins with Li Mu Bai and Shu Lien intimating their pasts in a conversation full of subtext (blatant subtext, but subtext nonetheless). And the biggest difference is clearly in the themes. No one would say that CROUCHING TIGER and HERO are about the same thing (unless someone wanted to make a case that they are both about kicking ass, I might buy that). CROUCHING TIGER has helped and hurt HERO. In a way it has opened a door for this kind of film, but also makes HERO come off as an imitator. No one who has seen it would call it an imitator, but I don't think anyone believes it will gross $100 million either.

87 minutes.
Its only 87 minutes long and most of it is fighting. That can easily be seen as a positive, but it doesn't help develop character. I think the audience manages to develop a good idea about the characters in their mind but they don't always see it on screen. At 87 minutes long the film feels short. There has been a long rumored director's cut, but I wait for it still. Miramax actually dictated the length of this cut even in its foreign release. Some scenes seem like they happen too fast, but Zhang Yimou and his editor still create a good and consistent pace to the movie.

But the short length being one of my few problems with the film, I may as well use this time to note some of my other small problems - for no films are perfect (well, ok, maybe a few...). First off, there are lots of wise Chinese proverb-esque dialogue that would sound ridiculous if spoken in English which are used continually throughout the film ("The flames of these candles are disturbed by your murderous intent" the Emperor of Qin declares in all seriousness). And also, the sound design could be better. With the other technical aspects being so precise and so good, the sound design is noticeably lacking. Not every country has the capacity to take full advantage of Dolby Digital 5.1 and layer hundreds of tracks. Fortunately and unfortunately, Hollywood now creates soundtracks so intense and so subtle that few if any foreign countries can compare. And after watching films like LORD OF THE RINGS and MASTER AND COMMANDER each week, the bar has been raised. HERO is the technical equal of these films in every other way, but just does not have the technology to create a masterful soundtrack.

Why Hasn't It Been Released?
HERO was nominated for Best Foreign Film at the Oscars and Golden Globes in 2003. Over a year later, it hasn't seen a screen in the US (except Palm Springs Film Festival and some Festival in San Francisco). It's release date is constantly being pushed back by Miramax, who bought the rights to the film for a staggering $20 million dollars. Well, the way the Oscars work, if a film is nominated for Best Foreign Film and has not yet been released in the United States, it cannot be nominated for other awards the next year after being released in the United States. The other side of this was recently seen with CITY OF GOD - which did not get a Foreign Film nomination when it was released in its native country; so the next year when it was released in the United States, it was still eligible to be nominated for Director, Cinematography, Editing and Writing. This is confusing, I know. Well, Miramax had a loaded schedule at the end of 2003 - FRIDA, CHICAGO, GANGS OF NEW YORK and THE QUIET AMERICAN were just half of the movies they released in December (and the ones that actually snagged nominations). There was just no way they could push HERO too. So they banked that it wouldn't get nominated for Best Foreign Film and they would push it for awards the next year. Well, those fine people who vote for Foreign Films didn't care about their plan, and nominated what they thought were the best films. Now Miramax lost its reason to release the film. And they did not seem ready to release it immediately after the Oscars to capitalize on its nomination.

They kept giving it release dates and taking them away - most recently April 16, which they in turn gave to KILL BILL VOL. 2 instead. The big problem now is that everyone who wanted to see it has probably already seen it by now. Jet Li recently noted, in an interview in China, that every Chinese-American already owns the film and it's already lost at least $10 million dollars he estimates. So the real question is, even though everyone who wanted to see it already has, will they pay to see it in the theater anyway? And will their good word of mouth help anyone but international DVD-selling Web sites? I guess we'll have to wait and see.

Jet Li's HERO
Originally, Miramax decided that this would be the official title of the film for its release. But since many fans - and Jet Li himself - were not happy with this choice, Miramax recanted. It would have been a deceptive title because this is a uniquely Chinese film (and Jet Li for the past several years has been making American and French films and before that - Hong Kong films under British rule). But it is also a Jet Li film in some ways. It is a real prestige film for him - a place to exercise and challenge the Buddhist ideals he holds so dear (it is rumored about once a month he is leaving acting to become a monk) and a chance to use his real voice (which was generally dubbed with a more manly voice during his tenure in Hong Kong). Just as his character takes his duty very seriously, Jet Li takes this role very seriously. He knows it could open doors for him.

What's Next?
Now a brief look at Zhang Yimou's next Martial Arts masterpiece - HOUSE OF FLYING DAGGERS (Shi Mai Mian Fu - it may actually be released under the title 'Lovers') which premiered at Cannes this year - out of competition - and will open in China on July 16th. It stars Hong Kong mega-star Andy Lau (RUNNING OUT OF TIME and INFERNAL AFFAIRS), along with Zhang Ziyi again, and hunky Japanese actor Takeshi Kaneshiro (FALLEN ANGELS and RETURNER). It was also to star Hong Kong icon Anita Mui, but she died of cancer while shooting; in respect for her, Zhang Yimou vowed that no one could fill her shoes, and her character was taken out of the film. As far as I can gather, and I may be wrong, the film is about Zhang Ziyi, who I believe is blind and falls in love with Takeshi Kaneshiro. They seem to be on the run from Andy Lau. But hey, there's more action, so I'll be there.

Zhang Yimou's old classmate, Chen Kaige (director of FAREWELL MY CONCUBINE and THE EMPEROR AND THE ASSASSIN), for whom Gong Li was also once a staple of his films, is now in production on his first Martial Arts epic. It has an impeccable cast, with Hong Kong stars Nicholas Tse (GEN-X COPS and TIME AND TIDE and who is my favorite Hong Kong pop idol!), Cecilia Cheung (LEGEND OF ZU and RUNNING ON KARMA), Japanese actor Hiroyuki Sanada (RINGU, LAST SAMURAI and TWILIGHT SAMURAI), Korean actor Jang Dong-Kun (2009: LOST MEMORIES, FRIEND, NOWHERE TO HIDE), and Chinese actors Lui Ye (LAN YU and PURPLE BUTTERFLY) and Chen Hong (TOGETHER). It will be shot by the Oscar Winning cinematographer of Crouching Tiger, Peter Pau. I think Chen Kaige at the top of his game is actually a better director than Zhang Yimou - but when he's off his game, it can be disasterous. So, I'm certainly hoping for the best on this one.

Further, HERO cast and crewmates Maggie Cheung, Tony Leung, Zhang Ziyi, and cinematographer Christopher Doyle's latest film for director Wong Kar Wai - 2046 (a somewhat sequel to IN THE MOOD FOR LOVE) - which also premiered at Cannes in competition. While not a Kung Fu film, it does have robots.

HERO is now scheduled for an August 20th release. In New York and Los Angeles it will be released as "Quentin Tarantino presents HERO". At least it's no longer "Quentin Tarantino present's Jet Li's Hero". That's something.

IN TWO WEEKS: The INFERNAL AFFAIRS Trilogy! Awesome!

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