张艺谋的电影英雄影评.doc

IntroductionHero is a movie shot by Chinese famous director Zhang Yimao in 2001, which tells a special story ofJing Kes assassination attempt on theKing of Qinin 227 BC. It interprets the poignant love and hate story, the swords friendship that a gentleman is ready to die for his bosom friends and the Confucianism breadth of view world. Therefore, this movie advocates modern peace spirit, reexamines the historical characters in the view of heroism, and explores different historical value based on the righteousness of Chinese ancient traditional hero. This film costs 30 million US dollars and its investment is the highest in Chinese movies that year. This film opened in Hong Kong in December 2001, which gained $15,471,348 dollars in the first week. HK $26,648,345, the final gross made this movie become one of the top movies in HK in 2002. Finally, its box office reached to RMB 0.25 billion and becomes the firstmovieto breakUS$100million in Chinese history. (W Larson, 2008) It creates numerous historical miracles. After a long delay, this film was released in North American Screens in August 2004 and it topped the North American box office, taking US $18,004,319 ($8,864 per screen) on its opening weekend. As for foreign language film, the final US $53,710,019 box office gross in North America region made this film become one of the highest-grossing movies and martial arts movies in box office history in North America. Its box office reached 177 million dollars globally and such a box office gross was substantial among the pride scores of Hollywood blockbuster. There is no doubt that Hero is the milestone of Chines Blockbusters Era, which has great meaning for the development of this kind of martial arts film combined arts and commerce. It can be seen that it is a culturally specific and technically sophisticated film that appeals to both East and West. Reasons of Heros successFirst of all, Chinese culture contianed in this film attracts audience domestically and abroad. It combines Zhuangzis philosophy: the view on the sword and the world. In this film, sword is the main tool in this film. Wu Ming especially asked Can Jian for this character in State of Zhao. Wu Ming said the character of sword has 19 writings styles. His saying not only represents a few historic details but also reveals the meaning of the world by the calligraphy of sword. The film represents a soul-stirring character seeking process in Zhao libraries. The swordsmanship can be found in calligraphy and the calligraphy is formed when thousands of arrows were through the hall. Therefore, the realm of sword is also the realm of life. The old man stands still when thousands of swords are through the hall. The old man can also continue to write when Can Jian stretches his hands to pick up the arrow calmly. Although it is seen that Qins army attacks Zhaos army seriously form surface, it contains countless Buddhist allegory and enlightenment inside. All this paves the way for Qins world theory. In order to represent the stipulated circumstances, Zhang Yimao let the four Arts of Chinese Scholar, which can represent Chinese culture mostly integrate in the plot development and peoples action. Thus, the film is filled with Chinese culture circumstance. Guqin, chip, calligraphy and the battle formation in this film are harmonious in the context of Zhang Yimao. If Zhang Yimaos previous films represent some folk culture in wine workshop, dye house, and big red lanterns. Then, the film Hero is to represent Chinese national culture. Therefore, when Qins soldiers shout loudly: wind, wind, wind, heavy wind, heavy wind, and heavy wind, no matter Chinese audience or foreign audiences are moved by this national culture. And their moral. Accompanied with Guqin music, the battle between Chang Kong and Wu Ming inherits Chinese paintings traditional meaning technique in the shooting by Zhang Yimao. Zhang Yimao abandons the specific 18 Martial Arts and focuses on the extradinary thought. When the scene changes from reality to vision, audience becomes nervous about the battle at the same time. It is a process of turning real into unreal actually and there is no doubt foreign audience will be interested in this Chinese traditional aesthetic angle.Secondly, this film is a visual feat for audience because it is a combination of color and narration. Zhang Yimao divides color into four parts to match the story line. The design of color serves the narration of this story. The first color is black, which is the tone between Wu Ming and Emperor Qin in real world. The black theme was throughout the whole film ranging from these two peoples clothing and headwear to furnishings in Emperors Palaces. The black color stands for features and characteristics in Iron Age. Black color is also the symbol of majesty and cruelty in Qin State. The second color is red. The first red story told by Wu Ming is fierce with twist emotion. The story of Can Jian and Fei Xue is especially created by Wu Ming for Emperor Qin, which contains jealousy, anger and pain emotion of human beings. The red keynote reflects restlessness in Wu Mings heart and depiction of love desire. This emotion reaches to extremes when yellow leaves in sky all become red after Fei Xue killed Ru Yue. On the other side, red color stands for the blood bleeding from vicissitude of history, which accords with color of vermilion, a kind of writing material. Emotionally, it represents the directors insinuation for cultural traditions. The third color is blue, which depicts a circumstance full of immortal breath. Blue is characterized with objectives and calmness itself. The water blue color manifests the meticulous mind with great calm. This color also manifests the extraordinary refined disposition of this chivalrous couple, Can Jian and Fei Xue.( Tasker, Yvonne ,2002) When Emperor Qin found the real intention of Qin, he also can keep calm in his mind. Therefore, the blue story contains calm, love and sacrifice and these emotion reaches to peak when Can Jian stays besides Fei Xue after Wu Ming and Can Jian fight with each other violently. (E Chan, 2004) The fourth color is white, which appears in Wu Mings real narration and ending between Can Jian and Fei Xue. Pale reality emerges gradually as if all have come to a close. Finally, Can Jian and Wu Ming embraced to die in gloomy music. Audience can deeply experience this beautiful and silent death.Thirdly, the expression technique of this film is great. It employs Montage repeatedly. The narration of this story is realized by color controlling and this technique is which Zhang Yimao good at. Many plots such as calling wind and shooting contains repeated Montage technique. Almost everyone know that few people can say clearly about the story of the Emperor and the Assassin. It is appropriate to express this story by poetic narration.( S Klawans, 1995) In fact, Zhan Yimao does not intend to talk about the history by the film Hero but wants to express the future of film arts by history. Besides, this film improves sound effect of martial arts film to a high level. Knife and sword, Chinese boxing and flying are not exaggerated in this film; however, the dubbing and onomatopoeia are restricted in this film. (F Lan, 2008) The film focuses on lingering, deep, and remote artistic conception, that is, it emphasizes on the texture. Drum, violent sound, and various natural voices are mixed in the action movies, which impress audience deeply, especially in the sword confrontation in Jiuzhaigou. The beauty of natural scenery, sword sound, and silent lake leave a deep impression on audience. ConclusionIn conclusion, hero is not the traditional hero in this film. Hero reveals a new realm of heroism. The inner most part of human nature is the first heroism realm. Fei Xue can ignore her revenge planning and killed Can Jian for love because love is selfish and supreme, which can not be deceived and hurt. The second realm of Hero is sacrificing life for righteousness. Chang Kong, Fei Xue and Can Jian revenge at the cost of their life. (T Ye,1999) The scholar in State of Zhao still search for the essence of the character Zhao. The third realm of heroism is undying loyalty. Fei Xue abandons love and life when state is in critical condition. This is the integrity and character of hero. However, heartless hero may not be the true hero. Can Jians tender feelings for Fei Xue touch millions of audience when a drop of water drops to Fei Xues face. The highest realm of heroism is having everything in the world. “Tian Xia” is the soul of this film and the film will be the accumulation of gorgeous scenes without the spirit. The employment of color and expression technique in this story both have a breakthrough in Chinese martial arts film, which gained high praise from audience domestically and abroad. (JZhang, 2005) The most important th