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One man defeated three assassins who sought to murder the most powerful warlord in pre-unified China.
whooh onomatopoeia ; sound made by swinging swords, arms, legs, and all forms of sticks or poles ( with, or without metal appendages )in martial arts movies. Sometimes associated with arrows. Usually repeated at least 3 times. whooh whooh whooh
whowh onomatopoeia; sound made by magically flying protagonists and or antagonists, often found in the Wuxia sub-genre of martial arts films, as they hurl toward their enemy, often somersaulting during the approach. Often repeated at least twice, corresponding to the number of summersaults. whowh whowh
woah onomatopeoeia; sound made by audience when witnessing spectacular choreography and sumptuous cinematography often associated with the Wuxia sub-genre of martial arts films. Sometimes repeated twice, once for choreography, and then for cinematography. woah…
*Potential spoilers for the broad strokes of the plot. If you haven't seen this yet and are looking for a quick reason to check it out, it has some of the most beautiful photography outside of a Terrence Malick picture. If you like kung-fu movies and don't mind "wire-fu" then you'll probably like Hero.*
"A warrior's ultimate act is to lay down his sword."
Hero is a historical wuxia, or a king-fu period piece, but the battles between warriors stand in for a more important battle happening beneath the surface of the film. The fight scenes are highly choreographed and excessively stylized (a practice commonly referred to as "wire-fu"), and this gives them a mythical quality that indicates they may…
A Rashomonian wuxia made by the person who brought us the bright, crisp melancholy of Raise the Red Lantern, this film more or less could not fail. Though one of its themes, as far as I can follow them, seem to be about sacrifice for greater ideals in unsettling nationalistic terms, the more intriguing idea of a warrior who is unwilling to kill, this paradoxical philosophy of strength through unwielded power, overwhelms the downside. More so, though, the beautiful dance of blade, elements, and environment that this film is dominated by puts everything else to shame.
There are some who might sully this film with the qualifier that it's "cool." Those people are boorish fools. "Cool" is for pop-art and…
Film #19 of 30 in my March Around The World | 2016 Challenge
In this beautifully choreographed and fanciful epic tale of ancient China, writer-director Zhang Yimou replicates the artistry of Ang Lee's "Crouching Tiger, Hidden Dragon" (2000), but with a higher profile cast and double the production budget, perhaps to show that the PRC will not be outdone by the ROC when it comes to martial arts blockbusters.
The main character here is a master swordsman and provincial prefect referred to as Nameless, as portrayed by international superstar Jet Li. He's joined on screen by two Hong Kong cinema stalwarts: Tony Chiu Wai Leung as the assassin Broken Sword and Maggie Cheung as his mistress and accomplice…
A Man with no name approaches the throne of the emperor of the great Qin Dynasty. He comes with nothing but the weapons of the three most powerful assassins and warriors in the realm, all of whom have all vowed to kill him: a spear belonging to Long Sky, and two complementary swords belonging to the two lovers Flying Snow and Broken Sword. Nameless claims to have defeated all three of them, ensuring safety for the Emperor. Under scrutiny, he spins two stories before actually explaining his true intent.
In the first explanation, the story vilifies the three assassins, engulfing each scene with red- red gowns, red walls, red curtains.…
"All Under Heaven"
The imagery has to be seen to be believed,simply jaw dropping...It has spectacular fight sequences(especially the blue lake sequence being my favorite)..Tony Leung and Maggie Cheung(gorgeous as always) carry forward their magical chemistry..The score soars on all fronts..I know Jet Li is talented but he has a single expression the whole film...its a good film but i will prefer Crouching Tiger Hidden Dragon over this for emotional heft.
I swear, I'm this close to just getting cardboard cutouts of Tony Leung and Maggie Cheung.
Everything about this is beautiful. It's like a stunning musical where instead of breaking into numbers, the characters break into fights. The choreography is more akin to dance than actual martial arts. Color is informed by the storytelling, and staging is informed by the color. Transcends slow-motion and becomes flow-motion. Several of the most gorgeous people in all of Chinese cinema - each with their own single-tear moments - gather and give tremendous performances. As lovely as it all was, the film's sheer grace also seemed to detract from the impact of some of the harder-hitting scenes, and some of the characters felt rather one-note until the back half. I feel like I'll like this more on a rewatch.
But seriously. This. Close.
So fucking beautiful - one of the great visionary films of all time, full stop, even with a few bits of now-dated CGI - but the politics get harder to swallow with every viewing. (Although reading the last two paragraphs by Shelley Kraicer here make me wonder if I've got the wrong end of the stick. I'm sure I'll watch it again to decide.)
One of the most exceptionally shot films of all time, no question about that. The color, framing, use of slow motion. This is beautiful from a cinematographic standpoint alone, not to mention how well this story is told. Feeling like a sort of retelling of Rashomon without the inmediate urgency, Hero is the story of a man recounting the tales of his assassination of the Emperor's enemies. Or so it seems at first. Where we go from there is revealing and secretive at the same time. Myth and reality is mixed. Muddled. Seemingly impossible to tell the difference. Gods and goddesses fall and rise. History is altered, question the very ideal of truth. There's not a moment of Hero that…
Great! Even the ending on the importance of uniting the country with a one-party state not enough to spoil great color work, cinematography and direction.
A beautiful masterstroke from director Zhang Yimou, Hero is a beautifully constructed wuxia film that is infused with history, Chinese culture, honor, and themes of overcoming hate and the pain that can be caused from not conquering that hate. Through this film, Zhang Yimou not only creates a terrifically entertaining martial arts action film, but he also creates a film that is a moving and stirring look at the unification of China and the sacrifices that went into that monumental step.
With beautiful cinematography to soak up every inch of the screen, Hero shows an adept use of shot composition and construction to go along with the cinematography. Used in conjunction, the significant moving pieces of each shot and the…
took this up in film class but our teacher left us hanging and tells us to find the film and finish it ourselves. I'm glad I did. It is a gold mine for film analysis. Every color and set design means something-- it's so fun to descipher. Not to mention the story still relevant today as it was during the Qin dynasty.
The austere beauty of this is so mesmerizing that I actually got chills. Yimou directs one of the most beautifully photographed films I've ever seen. It's a sensory experience through and through, and his reliance on simplicity really makes you understand how truly convoluted so many action films are. Yimou transports the viewer into an austere world, one full of unabashed emotional rawness, confident exploration of honor and humanity and stunning action choreography that feels more like a tragic ballet. Holy crap.
There is a beauty in certain wire-fu movies, like this one, where the effect doesn't only to create a magical realism and sense of awe, but also allows scenes to become metaphoric and symbolic.
Two men stand apart, weapons in hand, and imagine a battle floating through rain. Two women spurned over love glide through the breeze, one with, the other against the wind. A man in mourning dances across the water, and keeps his dead wife from being sullied by a single drop, while her murderer falls and becomes drenched.
These scenes actually have very little importance vis-a-vis the story. Who loses and who wins is not important. The dance is what is important. The dance is from where…
The sword fight on the still water is one of most memorable succession of images ever put on screen.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…