A Man Called Hero
Director: Andrew Lau
103 minutes (15) 1999
widescreen 2.35:1
MIA/Hong Kong Classics
review by Donald Morefield

This one's a bit strange. Overburdened with flashbacks and 'many years later' new chaptering, it tells the story of two generations of Chinese martial arts experts travelling back and forth between their homeland and New York, in an effort to avoid enemy vengeance and a lonely destiny as bearers of their master's mystic-warrior secrets.

   The main players in this strained narrative of enslaved Chinese boat people and Caucasian racism are manga superhero archetypes, with names like Sword (the abandoned young son of Hero Hua - a man born under the accursed Star of Death), Brother Shadow, and a villain called Invincible, rather than any sort of conventional movie characters. There's sublime early 20th century period detail from Ellis Island (where the Statue of Liberty is mistaken for the Chinese goddess of mercy) to Chinatown, all of which is wonderfully photographed for maximum atmospheric effect, to enhance the impact of several excellent digitally composed fantasy kung fu combat sequences. These dynamic and stylish visuals see Hero's family-oriented group fighting a gang of Japanese ninjas in magical scenes where bodies explode at a dramatic gesture, and the principals take to the skies over old New York for their final duel.

   Despite all the action, though, this is essentially a tragic romance with all the personal anguish and honourable intentions of recently celebrated award-winner Crouching Tiger, Hidden Dragon. Cinematographer turned director Andrew Lau successfully evokes the icons and tropes of both western and gangster mythologies in a drama on the epic scale of a war film. There are longueurs in establishing scenes but, on the whole, A Man Called Hero is a commendable mix of east and west themes, and the last half-hour is particularly good.

DOWSE Guide to the Movies is compiled by Tony Lee editor of Pigasus Press
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