Film Name: 中华英雄 / A Man Called Hero
I’ve lost count of how many times I’ve watched this film, and it moves me every single time. There are plenty of good movies in the world, but few truly touch me. Just this week I remembered to download the soundtrack for “A Man Called Hero”—I can’t believe I put it off for so long! Hearing that familiar music still stirs my soul and sets my blood racing. What a Chinese hero!
This film is both avant-garde and traditional. Its style is avant-garde, while its content is traditional. Reflecting on it now, what moved me most was its distinctive new wuxia style and the patriotic spirit brimming with Chinese cultural essence.
As two representative works of Andrew Lau’s new wuxia era, “The Storm Riders” carries far greater renown than “A Man Called Hero.” When Hong Kong wuxia films are featured on TV, “Wind and Cloud” is always highlighted first—if “A Man Called Hero” gets any mention at all, it’s just a few brief clips. In my view, “A Man Called Hero” is actually far superior to “Wind and Cloud.” Even as a die-hard fan of the original Wind and Cloud manga, I can’t deny this.
Perhaps because I know the source material so intimately, parts of the film feel incongruous. The filmmakers clearly grasped only the superficial form of Wind and Cloud, missing its true essence. This is why TV commentaries often dismiss Wind and Cloud as lacking moral clarity—reducing it to a mere revenge story celebrating individualism. That’s completely inaccurate. A close reading of the “Wind and Cloud” manga reveals that its characters are all struggling against fate. Bu Jingyun and Nie Feng aren’t inherently noble heroes—especially Bu Jingyun, who fits the label of a villain better. Neither sought involvement in the martial world, yet fate dragged them in. They endure endless sorrow through all their loves, hates, and entanglements. Approaching “Wind and Cloud” through simplistic notions of righteousness and morality means missing half the story. For this is fundamentally a tale about humanity.
But I digress. For any true fan of “Wind and Cloud,” the film adaptation is underwhelming. Conversely, “A Man Called Hero” truly impressed me. I haven’t read the “A Man Called Hero” comic—only the novel. But the film adaptation is undoubtedly superior to the comic. I know the comic was rushed during serialization, and even Ma Wing-shing himself wasn’t entirely satisfied with its plot structure. The movie version stands perfectly well on its own, telling a complete story. The only noticeable flaw is the plot hole involving Hua Yingxiong’s daughter.
The film’s structure is exceptionally well-crafted. The hero’s son journeys to Chinatown in search of his father, learning his story through his father’s friends, and ultimately culminates in the convergence of past and present at the Chinese laborers’ uprising, completing the flashback narrative. This kind of cinematic structure is rarely seen today and is perfectly suited to portraying such a legendary hero.
Moreover, the musical score complements the film beautifully. I particularly adore several musical segments, especially the music accompanying the Chinese laborers’ uprising scene, which is incredibly stirring and powerful. The entire score carries a distinctly Chinese flavor while incorporating foreign percussion and electronic elements—a fitting blend given the complex cultural tapestry of Chinatown.
As for why it’s labeled a “new wuxia” film, I needn’t elaborate; anyone who’s seen it should understand.
But setting aside these external elements, what truly moved me was the story itself. Though the film is titled “A Man Called Hero,” this aspect remains largely absent in the early narrative. The protagonist, Hua Yingxiong, is a good man, yet his actions hardly qualify him as a hero. He killed a foreign missionary driven by personal vengeance. He fled to Steel Bull Valley in America, possessing formidable martial arts skills yet refusing to aid his compatriots. Instead, he voluntarily became a slave, allowing himself to be manipulated. When reunited with his wife, his joy remains ordinary. Though upright in character, he falls far short of the title “Chinese Hero.”
Hua Yingxiong suffers oppression because his nation lacks strength and prosperity. He witnesses his beloved wife’s tragic death at the hands of tyrants. Learning he bears the mark of the Heavenly Star of Solitude, he grieves profoundly at the prospect of never seeing his family again. Simultaneously, his mentor sacrificed his life to prevent Wudi (contrary to the comic’s portrayal) from obtaining the “Pride Sword Technique of China.” This awakened him to a harsh truth: without a strong nation, the people suffer oppression; righteousness and virtue cannot flourish; and personal happiness cannot endure. Thus, driven by endless longing for his loved ones, Hua Yingxiong trained relentlessly in the “Pride Sword Technique of China” until his hair turned white!
In truth, the so-called Chinese heroes were not limited to Hua Yingxiong alone. There were also the patriotic warriors of the Chinese Tower, especially Luo Han and Yuan Wu. They fought tirelessly for the honor of the Chinese people from beginning to end. Luo Han even sacrificed his life to rescue his compatriots in Gangniu Valley. Witnessing Luo Han’s heroic demise, Hua Yingxiong finally embraced the burden of Chinese honor and the spirit of resistance. Before his final battle with Wudi, he declared to the members of the Chinese Tower: “Today’s fight concerns not only the reputation of my master, Jin Ao, but the honor of all Chinese people!” This was his moment of recognizing his true mission.
This film is the most patriotic movie I’ve ever seen. It’s hard to imagine Hong Kong cinema could be this patriotic! In truth, patriotic films from mainland China often focus more on party loyalty than genuine patriotism. Films that purely express the Chinese national spirit like this are extremely rare. Simply put, patriotism is love for one’s own nation—a very simple emotion. People from any country love their homeland without needing to justify it with claims like “my country’s policies are great” or “my government is wonderful”…
The climactic battle at the Statue of Liberty in the film carries profound symbolism. As an emblem of the United States, the statue embodies the ideals of liberty and democracy that America has long championed. Yet when they sold Chinese laborers into American mines as indentured servants, they clearly never imagined these very people would also demand freedom and democracy. Thus, when Hua Yingxiong and Wudi joined forces to dismantle the statue, they not only deconstructed the essence of America’s liberal democratic spirit but also demonstrated the indomitable spirit of the Chinese nation.
In the novel, Hua Yingxiong ultimately fails to defeat Wudi and is thrown into the Pacific Ocean—a conclusion I fully understand. Having blinded himself, murdered his own family, and abandoned all humanity, Wudi’s resolve matched Hua Yingxiong’s. Rather than love conquering all, it was sheer power that proved the stronger man. Thus, Hua Yingxiong lost. Yet Wudi, tormented by guilt, ultimately committed seppuku.
In the film adaptation, Hua Yingxiong’s complete victory is also understandable. The movie’s theme differs from the novel’s, emphasizing patriotism instead. Thus, the final battle is fought with spirit. When Hua unleashes his “Pride of China” technique, it embodies the patriotic spirit of the Chinese nation—how could he not win?
Reading Douban reviews left me somewhat disheartened. Ma Wing-shing’s comics deeply explore humanity and spirit—though the plot may seem ordinary, it’s profoundly moving. Take Hua Yingxiong’s wife, Jieyu: her name honors Ma’s first love. Crafting this virtuous, kind-hearted woman must have poured his heart into it. Thus, though Jieyu and Hua Yingxiong’s love isn’t fiery, it radiates an ordinary kind of happiness.
Even as I praise this film so highly, I doubt director Andrew Lau himself sees it this way… But as Cao Yu once said, once a literary work is complete, it no longer belongs to its author. Just like “Wind and Cloud”—even Ma Rongcheng himself probably never imagined “Wind and Cloud” could be so brilliant.
There’s so much more to say about “A Man Called Hero” because I adore this film so deeply. I empathize profoundly with the character of Hua Yingxiong. His solitude and sincerity still resonate with me in this chaotic world. To borrow Ang Lee’s words, “There is a Hua Yingxiong in everyone’s heart.”
The characters in Ma Rongcheng’s works all carry a sense of loneliness. When you delve into them, it’s like delving into yourself.
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