Film Name: 烈火英雄 / The Bravest
I saw “The Bravest” during its preview screening last Saturday, but it wasn’t until now that I mustered the energy to write something about it… Besides the fact that “most of my attention lately has been on ‘Ne Zha’,” it’s also because there really isn’t much to say about this film.
As a tribute to heroic firefighters with a “mainstream” narrative, it’s unfair to be overly critical of certain aspects. In fact, I did shed tears during the screening—but this emotional response stemmed more from the subject matter, the real-life events behind it, and the heavy-handed sentimentality.
Judging purely on its own merits, especially as a commercial theatrical release, “The Bravest” is rather mediocre… At the very least, it fails to fully harness the true power inherent in its subject matter.
[Friendly reminder: Spoilers ahead.]
Firefighting stories are a prime choice for disaster films and among the most compelling themes for showcasing heroism. Without delving into older examples, recent films like “Out of Inferno 3D,” “As the Light Goes Out,” and “Only the Brave” from both China and abroad are likely familiar to many.
A major highlight and strength of “The Bravest” lies in its selection of a unique “battlefield”: a petrochemical industrial complex.
Unlike fires in buildings or forest wildfires, the theme of a blaze in an “oil and gas industrial zone” is a first among similar works (please correct me if I’m mistaken). This is a rather novel choice of subject matter, and only countries that have achieved a certain level of “industrialization” possess the conditions to produce such a film.
The port terminal incident depicted in “The Bravest” draws inspiration from the “July 16, 2007 Dalian Oil Blast and Fire.” The rescue operation, which resulted in zero civilian casualties, was nothing short of miraculous. Viewers may even detect faint echoes of the “August 12, 2015 Tianjin Binhai New Area Explosion” in the film…
In terms of production scale, “The Bravest” is unprecedented among domestic films of its genre. The set featured a 1:1 replica of a port oil tank area, with all actors performing in the fire scenes without stunt doubles. Through live-action filming enhanced by special effects, the blazes in the film burn with remarkable intensity, delivering highly impactful scenes and visuals.
Notably, the film subtly addresses fire safety hazards and environmental issues without preaching. Examples include blocked escape routes hindering evacuation during the hotpot restaurant rescue at the beginning, and marine debris obstructing long-distance water supply during the oil tank firefighting. These elements carry significant real-world relevance.
Simultaneously, “The Bravest” expands its scope beyond the firefighting scenes to encompass the entire coastal city, painting a panoramic view of a disaster film.
The most striking example is the storyline where panic spreads rapidly among citizens after the fire breaks out, triggering a mass exodus, while Li Fang desperately searches for her lost son…
However, the “all-encompassing approach” also presents a problem: the film suffers from poor coherence and somewhat unbalanced pacing.
The “Li Fang searches for her son” storyline itself isn’t particularly compelling. Beyond showcasing urban chaos in the face of disaster, its primary function is to highlight the emotional bonds within the protagonist’s family. Yet when fragmented and scattered throughout the film, coupled with overly formulaic (conservative) cinematography and direction, the actual effect falls short.
A more significant flaw in “The Bravest” lies in its repeated portrayal of unprofessional conduct. For instance, when newlyweds Wang Lu and Xu Xiaobin—who had just taken their wedding photos—argue, Wang Lu demands a water supply update from Xu Xiaobin in the command center. Xu Xiaobin pretends not to hear her until the commander-in-chief, Wu Chenguang, intervenes. Such blatant disregard for organization and discipline feels jarringly out of place.
Additionally, the male lead Jiang Liwei exhibits “failure to report known dangers and acting on his own initiative”—a classic American heroism trope that feels jarring within the disciplined ranks of our firefighters. The detail of Jiang Liwei and Ma Weiguo attempting to smoke a “farewell cigarette” at the fire scene is even more baffling…
I understand these humanizing touches aim to make characters more relatable, but beyond its commercial lens, this film retains documentary value. It should strive for greater factual accuracy—a mark of respect for both firefighters and audiences.
This shortcoming also exposes another flaw in The Bravest: prioritizing emotion over facts.
For instance, when Special Operations Squadron 1 was engulfed by raging flames, they didn’t promptly report the fire situation and danger via walkie-talkie. Instead, they “dramatically” pinned all their hopes on Zheng Zhi, a soldier known for being absent-minded. Only after Zheng Zhi sacrificed himself did Captain Ma Weiguo suddenly use the walkie-talkie to relay the situation… Yet this scene offered no close-up of the walkie-talkie being damaged or replaced.
It’s fair to say that in many parts of the film, surging emotions completely override objective reality.
This approach certainly has its merits—audiences are unconsciously swept up in the moment, as the firefighters’ spirit of battling flames and sacrificing their lives for the greater good is undeniably real. Yet the side effects are significant: regardless of whether a scene lends itself to sentimentality, the film’s latter half seems to carry a lingering whiff of melodrama, employing techniques that feel decidedly unrefined.
Amid such a “deafening” narrative, the film’s “isolated figures” feel somewhat diminished. The firefighters’ steadfast resolve is deeply moving, and the sacrifices of Jiang Liwei, Zheng Zhi, and Xu Xiaobin are heartbreaking—I couldn’t help but shed tears… Yet my tears felt “unwilling,” as if they were “coaxed” by the film’s excessive emotional manipulation.
In summary, as a commercial disaster action film, “The Bravest” is fairly average in quality. Yet it stands as a tribute to firefighters, and for this theme and intent alone, it deserves respect.
To be fair, calling the film “overly sentimental” reflects only the perspective of some ordinary viewers. For those with personal experience or relevant memories, such a statement would be heartless…
Director Chan Kwok-fai also worried whether “The Bravest” might be overly sentimental, but real-life accounts dispelled his concerns: “When they face such immense fires and bear such crucial responsibilities, anyone in that situation would act beyond the ordinary. That’s why they’re heroes—we’re simply portraying their stories truthfully.”
Movies are movies, yet sometimes, they are more than just movies.
Please specify：Anime Phone Cases » The Bravest 烈火英雄 2019 Film Review: Theme takes precedence, but execution falls short.