I believe that one of the reasons why Zhang Yimou dared to put out a documentary first and then release the movie is that he is very confident in the quality of the movie, and believes that Rashomon-style narrative and grand proposition can prevent him from being criticized again for not telling stories, but I believe that I seriously doubt that Zhang Yimou didn't realize that this plot setting is a controversial topic, but he chose one of them without compromise or supplementary conditions. At the end of the film, Wuming's predicament between stabbing and not stabbing is actually a localized interpretation of the trolley problem. If he stabs this sword, the troubled times will continue, but no one will die in the slaughter of King Qin's sweeping Liuhe. It is equivalent to sacrificing five people without pulling the lower bar. But if he doesn't stab and the world is unified, someone will eventually become a burial object on the road of Baye, which is equivalent to pulling down the lever and letting the train run over a person to death. I don't want to discuss the trolley problem here, that's not my area of expertise. Zhang Yimou's choice is utilitarian but understandable. What I can't understand is that when the film throws out the core contradiction, it starts to output Zhang Yimou's point of view with almost no buffer. In other words, there is a lack of analysis and excavation of the problem. Originally a highly speculative topic has become a prop to introduce the theme. The lack of opposing ideas is not only a waste of the tension of the script, but also a foolish move to weaken the room for detours of one's own ideas. The fact that some people dislike heroes because of their values is purely caused by Zhang Yimou's ill-consideration. The grandeur of Zhang Yimou's proposition in this film is reflected in the heroic sense of life, but this grandeur is only broad but not deep. I only see the symbolized people but not the heaviness and awe of life. No matter how lofty the idea of for the common people is, it cannot hide its original sin of arbitrarily making decisions for thousands of lives based on the difference of a single thought. Even though history is an unsolved elegy, those parts that were pushed off the cliff by the collective should not be forgotten. On the contrary, it should be on the heads of future generations to urge them to break this pi-like tragedy. In heroes I see no condolences to the victims, only the vain complacency of those who have vested interests. When sacrificing the parts for the whole is considered normal, everyone is just a life-or-death person tied to the rails, who can only watch the train called the era while running over countless creatures and heading for the edge of runaway and falling apart. As for the color that is praised, in my eyes, it has exposed the fact that Zhang Yimou's scene design ability is weak. The green hat and the teletubbies in "The Great Wall" are also the same color scheme of the armor that Zhang Yimou did.) This splash of color seems to cover up the emptiness of the set with a monochromatic visual impact. The formalism that lacks a sense of hierarchy will only make the colors that originally fit the image become cheap and rigid. I read a comment before saying that "Hero" is both "Rashomon" and "Ran". I can only agree with the first half of the sentence. Although many scenes have the shadow of "Ran", the most essential scene scheduling and Zhang Yimou's use of color has always been to no avail. It may be too harsh to ask Zhang Yimou to take Akira Kurosawa, but even his peers, such as Dongmu, Kitano Takeshi, and Jiang Wen, can find a service that not only has a personal brand but also a lot of money. Image-style toning filter. Even Zhang Yimou's early work "Red Sorghum" is far better in overall color usage than "Hero". This film has an inflated rating on IMDB, not because Chinese people are blind, but people on the other side of the ocean are curious about exotic customs. Although it also has a faint wind of reversal in China, I still think that he is not qualified. The ideas and colors listed above are the most praised parts of this article, and the rest are mediocre or even low-level (such as lines). In short, this is not an engaging work. It is suitable as a stepping stone to the marketization of Chinese films, but Zhang Yimou's desire to express himself has pushed it to such an embarrassing situation. In other words, Zhang's aesthetic concept is originally a niche, and if it is pushed to the public, problems will naturally arise. This film has an inflated rating on IMDB, not because Chinese people are blind, but people on the other side of the ocean are curious about exotic customs. Although it also has a faint wind of reversal in China, I still think that he is not qualified. The ideas and colors listed above are the most praised parts of this article, and the rest are mediocre or even low-level (such as lines). In short, this is not an engaging work. It is suitable as a stepping stone to the marketization of Chinese films, but Zhang Yimou's desire to express himself has pushed it to such an embarrassing situation. In other words, Zhang's aesthetic concept is originally a niche, and if it is pushed to the public, problems will naturally arise. This film has an inflated rating on IMDB, not because Chinese people are blind, but people on the other side of the ocean are curious about exotic customs. Although it also has a faint wind of reversal in China, I still think that he is not qualified. The ideas and colors listed above are the most praised parts of this article, and the rest are mediocre or even low-level (such as lines). In short, this is not an engaging work. It is suitable as a stepping stone to the marketization of Chinese films, but Zhang Yimou's desire to express himself has pushed it to such an embarrassing situation. In other words, Zhang's aesthetic concept is originally a niche, and if it is pushed to the public, problems will naturally arise.
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