The year 2001 marked a significant turning point for martial arts cinema in Hollywood. While the world was still reeling from the visual revolution of The Matrix, a different kind of high-concept action film arrived in theaters. The One, directed by James Wong and starring the legendary Jet Li, introduced mainstream audiences to the concept of the multiverse decades before it became the cornerstone of modern superhero franchises. It remains a unique artifact of early 2000s filmmaking, blending high-octane Hong Kong choreography with Western sci-fi sensibilities.

The Multiverse Authority and the Hunt for Divinity

At the center of The One is a premise that felt incredibly fresh at the turn of the millennium. The film posits that there are 124 parallel universes, all connected by wormholes. Each individual has a variant of themselves in these other worlds. In this reality, energy is shared among all versions of a person. When one version dies, their life force is distributed among the remaining survivors, making them faster, stronger, and more resilient.

Gabriel Yulaw, a former agent of the Multiverse Authority (MVA), discovers this phenomenon by accident after killing a variant in self-defense. Driven by a megalomaniacal desire for godhood, he embarks on a genocidal crusade across dimensions, systematically executing every version of himself. By the time the film begins, Yulaw has eliminated 123 variants, leaving only one man between him and the mysterious state of "The One": Gabe Law, a humble Los Angeles Sheriff’s Department deputy.

The stakes are not just personal but existential. The MVA, led by agents Harry Roedecker (Delroy Lindo) and Evan Funsch (Jason Statham), fears that if Yulaw becomes "The One," the delicate balance of the multiverse might collapse, potentially leading to the destruction of all existence. This setup provides the perfect canvas for Jet Li to showcase his range, playing both a cold-blooded assassin and a compassionate family man.

A Tale of Two Roles: Gabe Law vs. Gabriel Yulaw

Playing a dual role is a rite of passage for many actors, but for Jet Li, The One presented a physical challenge as much as an emotional one. He wasn't just changing his wardrobe; he had to change his entire kinetic energy.

Gabriel Yulaw: The Predator

Yulaw is depicted as a force of nature. He is precise, arrogant, and utterly devoid of empathy. In the opening sequence in the "Anubis Universe," we see him take on an entire tactical squad with a level of speed that borders on the supernatural. His movements are linear and explosive. He doesn't waste energy on flourishes; every strike is designed to end a life. This version of Jet Li captures the intensity that made him a household name in films like Lethal Weapon 4, where his speed was so great that cameras had to be adjusted to capture his strikes clearly.

Gabe Law: The Reluctant Hero

Conversely, Gabe Law is a man confused by his own burgeoning power. For two years, he has felt himself getting stronger and faster without knowing why. Unlike Yulaw, Gabe is grounded by his relationships, particularly with his wife, T.K. (played by Carla Gugino). His fighting style is defensive and reactive. He doesn't want to fight; he wants to survive and protect the life he has built. Li portrays Gabe with a vulnerability that contrasts sharply with the icy demeanor of Yulaw, making the eventual confrontation feel like a battle for the soul of the character.

The Technical Brilliance of Xingyiquan and Baguazhang

One of the most praised aspects of The One among martial arts purists is the decision to give the two leads distinct Chinese martial arts styles. This wasn't just a creative choice; it was a narrative tool used to distinguish the characters in the heat of battle.

Yulaw and the Power of Xingyiquan (Shape-Will Fist)

Yulaw utilizes Xingyiquan, one of the three major internal styles of Chinese martial arts. Xingyiquan is characterized by aggressive, linear movements and explosive power. It is often described as "fighting like a spear." The practitioner moves in straight lines, using "crushing," "pounding," and "drilling" strikes.

In our analysis of the film's choreography, Yulaw’s use of Xingyiquan perfectly mirrors his personality. He is a man who sees a goal and moves toward it with unstoppable momentum. When he fights the police at the hospital, his movements are short, sharp, and devastating. He doesn't circle his opponents; he goes through them.

Gabe and the Fluidity of Baguazhang (Eight Trigram Palms)

Gabe Law, on the other hand, employs Baguazhang. This style is famous for its circular footwork (circle walking) and its emphasis on constant change. A Baguazhang practitioner rarely meets force with force; instead, they pivot and spiral around the opponent, using the attacker's momentum against them.

During the climactic battle in the industrial plant, you can see Gabe constantly moving in arcs. While Yulaw attacks in straight lines, Gabe uses "palm changes" and "walking the circle" to evade and counter. This symbolizes his character’s belief in balance and the cyclical nature of life. The contrast between Yulaw’s linear aggression and Gabe’s circular defense creates a visual dialogue that is far more sophisticated than a standard action movie brawl.

The Multiverse Before the MCU: A Visionary Concept

In 2001, the "Multiverse" was not a term the average moviegoer used. The One deserves credit for being one of the first major Hollywood productions to build an entire narrative around interdimensional travel and variants.

The film explores the "Alpha Universe" (a high-tech, dystopian society), the "Anubis Universe" (where high-tech meets ancient aesthetic), and the "Charis Universe" (which resembles our own). While the budget—roughly $49 million—didn't allow for an exhaustive look at all 124 worlds, the glimpses we get are fascinating. We see variants of Jet Li as a prisoner, a monk, and even a "Lawless" criminal.

This concept allowed for a unique kind of world-building. The Multiverse Authority headquarters, with its clean lines and advanced technology, serves as the hub for a story that spans infinite possibilities. It anticipated the audience's hunger for "what if" scenarios that would later define films like Everything Everywhere All At Once or Spider-Man: Into the Spider-Verse.

The Supporting Cast: Future Legends and Reliable Veterans

While The One is undeniably a Jet Li vehicle, the supporting cast is a treasure trove of talent, some of whom were on the cusp of major stardom.

Jason Statham as Evan Funsch

At the time of filming, Jason Statham was primarily known for his work in Guy Ritchie's British crime films like Snatch. The One was one of his earliest forays into American action cinema. Interestingly, Statham plays a more intellectual, supporting role here—a far cry from the "unstoppable action hero" persona he would later cultivate in The Transporter and Crank. His chemistry with Delroy Lindo provides the film with its grounded, "buddy-cop" energy within a sci-fi framework.

Delroy Lindo as Harry Roedecker

Lindo brings a much-needed gravitas to the role of Roedecker. His character serves as the moral compass of the MVA. Roedecker’s history with Yulaw (they were former partners) adds a layer of personal tragedy to the hunt. Lindo’s performance ensures that the high-concept sci-fi doesn't lose its human element.

Carla Gugino as T.K. Law

Carla Gugino plays a dual role as well—Gabe’s supportive wife in the Charis Universe and Yulaw’s former flame in the Alpha Universe. Her presence is vital to the film's emotional stakes. The scene where she realizes the man in her house is not her husband but a killer variant is one of the most tense moments in the movie.

Production Trivia: From The Rock to Jet Li

One of the most interesting "what-ifs" in Hollywood history involves the casting of The One. The project was originally developed for Dwayne "The Rock" Johnson. At that stage, the script likely focused more on brute strength and traditional American wrestling/stunt work.

When Johnson left to film The Scorpion King, the producers brought in Jet Li, and the script was overhauled to accommodate his specific skills. This led to the inclusion of the Xingyiquan vs. Baguazhang dynamic and the hiring of Corey Yuen as the action choreographer. This shift changed the film from a standard sci-fi thriller into a martial arts showcase.

The filming of the dual roles required cutting-edge (for the time) technology. To have Jet Li fight himself, the production used a combination of "green-suit" stunt doubles and face-replacement CGI. While some of the effects have aged, the physical performance of the doubles and Li’s own timing remain impressive. The final showdown, set in a massive industrial plant with sparks flying and heavy metal music blaring, is a masterclass in early 2000s action aesthetics.

The Sound of the Era: A Nu-Metal Soundtrack

To understand the vibe of The One, you have to listen to its soundtrack. The film is heavily infused with the nu-metal and alternative metal sounds of the early 2000s. Tracks from bands like Disturbed, Papa Roach, and Drowning Pool accompany the most intense fight scenes.

The use of "Down with the Sickness" and "Last Resort" during key moments gives the film an aggressive, rebellious energy. For many fans, the music is inseparable from the action. It reflects the "extreme" culture of the time, where everything had to be faster, louder, and more intense. While critics at the time found the music choices polarizing, they have since become a nostalgic touchstone for those who grew up with this era of cinema.

Critical Reception vs. Cult Legacy

Upon its release in November 2001, The One faced a difficult uphill battle. Critics were largely dismissive, accusing the film of being "style over substance" and complaining that the plot was too thin. Many felt that the heavy use of CGI "speed effects" actually obscured Jet Li's natural talent rather than enhancing it.

However, the film found a second life on home video and cable television. Audiences were much more forgiving than critics, appreciating the sheer audacity of the concept and the thrill of seeing Jet Li go head-to-head with himself.

In hindsight, many of the criticisms seem a bit harsh. While the narrative is straightforward, it is efficient. At 87 minutes, The One doesn't overstay its welcome. It moves with the same linear aggression as Gabriel Yulaw himself. Today, it is remembered as a "guilty pleasure" that was actually ahead of its time in terms of its central conceit.

Why 2001 Was the Perfect Time for The One

Context is everything in film history. In 2001, the film industry was in a transitional phase. Traditional martial arts films were evolving into "wire-fu" spectacles, and digital effects were becoming cheap enough to use in every scene. The One sits at the intersection of these two trends.

It also tapped into a growing cultural fascination with quantum physics and the idea of "alternate realities" that was permeating pop culture through shows like Sliders and the burgeoning internet culture. It was a movie that spoke to a generation that was beginning to see the world as a series of interconnected data points—a theme that would only grow more relevant in the decades to follow.

The Final Verdict: Is It Worth a Rewatch?

If you are looking for a deep philosophical treatise on the nature of identity, The One might not be your first choice. But if you want to see one of the greatest martial artists of all time perform at the peak of his physical powers, framed within a creative and fast-paced sci-fi story, it is absolutely essential viewing.

The fight choreography alone—specifically the final 15 minutes—is worth the price of admission. Seeing the fluid, circular motions of Baguazhang collide with the hard, linear strikes of Xingyiquan is a treat for anyone who appreciates the "art" in martial arts. It is a film that wears its heart on its sleeve and its fists in your face.

Summary

The One stands as a bold, if flawed, experiment in genre-blending. It took the burgeoning concept of the multiverse and used it as a vehicle for some of the most unique martial arts choreography in Hollywood history. By casting Jet Li in a dual role, the film allowed him to explore the duality of human nature through physical movement. While it may have been overshadowed by other blockbusters of its era, its influence can be felt in the multiversal stories that dominate our screens today. Whether you are a fan of Jason Statham’s early work, Jet Li’s technical mastery, or just high-concept sci-fi, The One remains a high-energy ride that deserves its place in the pantheon of cult action cinema.

Frequently Asked Questions (FAQ)

What martial arts does Jet Li use in The One?

Jet Li uses two distinct styles to differentiate his characters. The antagonist, Gabriel Yulaw, uses Xingyiquan (Shape-Will Fist), which is aggressive and linear. The protagonist, Gabe Law, uses Baguazhang (Eight Trigram Palms), which is circular and defensive.

Who was originally supposed to star in The One?

The role was originally written for Dwayne "The Rock" Johnson. When he left the project to work on The Scorpion King, the script was modified for Jet Li, incorporating more complex martial arts choreography.

Is Jason Statham in The One?

Yes, Jason Statham plays MVA Agent Evan Funsch. This was one of his first major Hollywood roles before he became a leading action star.

How many versions of Jet Li are there in the movie?

The movie mentions that there are 124 parallel universes. Gabriel Yulaw has killed 123 of his variants by the time he reaches the final one, Gabe Law.

Does Jet Li actually fight himself in the movie?

Through a combination of clever editing, stunt doubles wearing green masks (to be replaced by Jet Li's face in post-production), and split-screen technology, Jet Li was able to film the fight scenes against "himself."

What is the song playing during the final fight?

The climactic battle features several songs, but the most notable one is "Down with the Sickness" by the band Disturbed. The soundtrack also features Papa Roach and Drowning Pool.

Why is Gabriel Yulaw called the antagonist?

Yulaw is the antagonist because his goal is to kill all other versions of himself to become "The One," a godlike being. The Multiverse Authority believes this would cause the collapse of all reality.