Hero Film Mise En Scene

As far as film is concerned, I believe film maker Zhang Yimou has created a masterpiece with Hero. With stunning photography, intricate choreography, great acting, and an intriguing story, how could one disagree? The photography, mise en scene, ideology, acting, and narration, all blend together to reveal poetic reverence, philosophy, and questions of ethics.
Yimou has composed a film which not only dazzles us with astonishing martial arts choreography, but also contains philosophical depth, causing us to examine our own moral integrity. The photography of Hero is possibly most beautiful and vibrant that I have ever seen on film. The director and cinematographer work together, using light and color in a way that creates aesthetic pleasure
The mise en scene in Hero seems to correlate directly to the overall tone and ideology of the film. This film idealizes unity, nature, and oneness. Director Zhang Yimou places figures and objects within the frame the way one would place rocks and plants in a Zen garden. His images are like watching poetry on film. In one frame, we may see a single bead of water as it splashes into a gleaming metal blade. In another, there is a close up of an old man’s hand as he plucks a single string of his instrument. These images are simple, yet speak so much of elegance and perfection. The mise en scene also depicts a contrast between the individual and the masses of people. One frame may show an endless army of Chinese soldiers, such as the ones guarding the Emperor. There are other frames shot from over head and far away, in which a solitary figure stands alone, mid-frame, surrounded by the vast landscape. One such scene is when our hero Nameless ascends the steps up to the Emperor’s throne. Nameless is just a small figure of a man, rendered insignificant by the magnificence of these castle steps, which