Thirty minutes of play of Zhang Yimou’s “Hero,” I watched two characters, Flying
Snow with Moon, hanging blade to blade as if through mystical powers surrounded with
spinning colorful leaves. This incredibly lovely scene, decorated in untainted color, shot like
a fantasy poetry, and dramatized like angels’ dance, it is unbelievable to be a fight. It is more
similar to a swordplay pleasure (Harrison 570). This is the loveliest scene ever filmed and
among the spectacles that the film gives to the audience who must be ready to be amazed.
Spectacle instead of storytelling is a way of unlocking “Hero’s” intricate sphere
(Harrison 571). “Hero” places narrative into an inquiry. In the narratives the protagonists
convey (narrated alternately …show more content…
Rather than a grapple within a story, “Hero” presents a
grapple between tales. The film interrogates the control of the story. It concerns who gets to
narrate tales: Nameless or the King.
The film provides uncommon and insightful delight: a film of spectacle associated
with a philosophical agenda of Daoism (Harrison 571). Daoism is a group of principles and a
Wong 2
culture that achieves completeness within absence, inspiration in rejection, in abandoning the
fight and wishes of humanity. The protagonists in the film such as Broken Sword, discover
gradually to abandon things they are aiming at, and develop to believe that those aims were
only temporary, lying on the way to a superior thing, although less concrete. Every character
abandoned their quests apart from the King, who in the end still possesses power that is
nearing uncontested supremacy. However, this power appears blank and unfilled, whose
worth is totally ruined and corrupted when evaluated within his adversaries’ understanding
and what they have accomplished (Harrison 571).
The film sceneries are gleefully kinetic as well as euphorically pleasing like
Snow with Moon, hanging blade to blade as if through mystical powers surrounded with
spinning colorful leaves. This incredibly lovely scene, decorated in untainted color, shot like
a fantasy poetry, and dramatized like angels’ dance, it is unbelievable to be a fight. It is more
similar to a swordplay pleasure (Harrison 570). This is the loveliest scene ever filmed and
among the spectacles that the film gives to the audience who must be ready to be amazed.
Spectacle instead of storytelling is a way of unlocking “Hero’s” intricate sphere
(Harrison 571). “Hero” places narrative into an inquiry. In the narratives the protagonists
convey (narrated alternately …show more content…
Rather than a grapple within a story, “Hero” presents a
grapple between tales. The film interrogates the control of the story. It concerns who gets to
narrate tales: Nameless or the King.
The film provides uncommon and insightful delight: a film of spectacle associated
with a philosophical agenda of Daoism (Harrison 571). Daoism is a group of principles and a
Wong 2
culture that achieves completeness within absence, inspiration in rejection, in abandoning the
fight and wishes of humanity. The protagonists in the film such as Broken Sword, discover
gradually to abandon things they are aiming at, and develop to believe that those aims were
only temporary, lying on the way to a superior thing, although less concrete. Every character
abandoned their quests apart from the King, who in the end still possesses power that is
nearing uncontested supremacy. However, this power appears blank and unfilled, whose
worth is totally ruined and corrupted when evaluated within his adversaries’ understanding
and what they have accomplished (Harrison 571).
The film sceneries are gleefully kinetic as well as euphorically pleasing like