Film Name: 西游记之大圣归来 / Monkey King: Hero is Back / CUG: King of Heroes
The greatest innovation of this film in the “Journey to the West” genre lies in its portrayal of a childlike Tang Sanzang and an adult Sun Wukong engaging in a relationship, thereby completely subverting the fixed patterns seen in previous adaptations of the same theme. For example: Pattern One, Tang Sanzang is the parent, Sun Wukong is the child; Pattern Two, Tang Sanzang is the leader, Sun Wukong is the subordinate; Pattern Three: Tang Sanzang is the “rogue,” Sun Wukong the “hero,” and so on.
“Hero is Back” avoids all these tropes, instead forging a new path with the unconventional pairing of a giant bodyguard protecting a mischievous child. This transforms an action film into an emotional drama. Isn’t “The Iron Giant” precisely such a story of a giant and a child? In a sense, Baymax and the genius young Hiro in “Big Hero 6” embody this dynamic too. In this genre, action sequences serve the emotional narrative. The big bodyguard must be physically imposing yet simple-minded, while the little troublemaker must be physically small yet mentally agile. Their differences must be stark, yet their bond must be exceptionally strong.
The core of this genre lies in forging an unbreakable bond between these two characters, laying the groundwork for a potentially tear-jerking separation at the end—though reunion is almost always inevitable. Both “Big Hero 6” and “Hero is Back” share this same resolution. The only difference is that in the former, the giant bodyguard temporarily departs, while in the latter, it’s the mischievous child who leaves for a while.
This film is an action piece, but more fundamentally, it’s an emotional drama. Every fight serves to amplify the subsequent emotional resonance. “Hero is Back” excels in this regard. For instance, in the first battle where Jiang Liu’er (Tang Sanzang’s childhood name) rescues Sun Wukong from the mountain demon, the scene culminates in a lingering gaze between Sun Wukong and Jiang Liu’er, establishing a powerful emotional foundation. The second fight against the stone monster culminates in Jiang Liu’er tearing off the Buddha’s curse talisman, only to fall off a cliff—laying the groundwork for Sun Wukong’s first proactive rescue of her. The battles at the inn and on the boat both ultimately show Sun Wukong constantly worrying about Jiang Liu’er, fueling his desire to protect her. Of course, the final battle erupts from Sun Wukong’s emotional outburst over believing he’s lost Jiang Liu’er. This starkly contrasts with countless animations where fights exist merely for the sake of fighting.
The film’s true brilliance lies not in its action sequences, but precisely in the everyday “anecdotes” showcasing the stark contrasts between the childlike Tang Sanzang and the cool Sun Wukong—differences in personality, status, and abilities. Take the scene when Jiang Liu’er first meets Sun Wukong: the monkey king, who could take on a hundred thousand celestial soldiers, finds himself utterly helpless against this little monk. He can’t shake him off, and gets completely stumped by all sorts of strange questions. Isn’t that just hilarious!
The first chain reaction triggered by the childlike portrayal of Tang Sanzang is that children adore the child character Jiang Liu’er and readily project themselves onto him, interacting with the hero Sun Wukong. Sun Wukong is no longer an unattainable idol but becomes the “Daddy” figures holding their hands. They even eagerly purchase the little Sun Wukong puppet toy featured in the film after the credits roll, enabling them to keep the hero by their side anytime, anywhere.
The second chain reaction triggered by the childlike portrayal of Tang Sanzang is that adults love watching this film, as it offers audiences something new beyond their previous perceptions. Our perception of Sun Wukong and Tang Sanzang has always been confined to their master-disciple dynamic, with Tang Sanzang relying on the golden headband to restrain this monkey who caused chaos in heaven. But for Sun Wukong, who has lived for hundreds of years, isn’t Tang Sanzang just a wet-behind-the-ears boy? So why not make this obvious age difference explicit?
Tang Sanzang has always projected an image of “hypocritical piety,” with some animations even portraying him as a “phony,” a petty-minded individual, and so on. Compared to Sun Wukong’s consistently positive image, Tang Sanzang has borne the weight of some negative emotions. This may well align with the original intent of the Journey to the West narrative. Yet the “Hero is Back” adaptation, by softening Tang Sanzang’s character, completely dissolves our guard toward him. This allows us to view the relationship between Jiang Liu’er and the Monkey King with clearer eyes, free from preconceived notions, and to experience their bond with a more pure heart.
Only then, when Jiang Liu’er speaks under the moonlight of her desire to meet the Buddha and release Sun Wukong from his bonds, can you be moved without reservation. Only then, when Sun Wukong truly learns to wield his power for others’ protection, can you cheer from the depths of your heart.
Therefore, I believe the “erhua” treatment of Tang Sanzang serves as the finest key to unlocking this film. By reconstructing the dynamic between Sun Wukong and Tang Sanzang, it reshapes the audience’s emotional investment in these characters, allowing viewers to set aside past preconceptions and embrace them anew.
Of course, the film’s portrayal of emotions isn’t flawless. For instance, the weighty concept of “protection” is never explicitly voiced by Sun Wukong, leaving an unsatisfying sense of “half-concealed, half-revealed.” Similarly, the emotional bond between the old monk and Jiang Liu’er feels underdeveloped—it’s hard to believe he would release her at the most critical moment, forcing her to risk her life to save Sun Wukong. Wasn’t this the perfect opportunity for him to sacrifice himself and elevate the plot to an emotional climax? Another example: why did the White Dragon accompany Sun Wukong to rescue Jiang Liu’er? The emotional development between them was poorly established. Still, these flaws do not overshadow the film’s strengths.
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