THE GRANDMASTER
China, 2012, 130 minutes, Colour.
Tony Leung, Zhang Zi Yi, Zhang Jin.
Directed by Wong Kar Wai.
A very ambitious film, a long time in pre-production, something of a labour of love for director, Wong Kar Wai. He made some action and historical films in the past but moved for a decade into more romantic, melodramatic films like In the Mood for Love. Now he is back in action.
Or, rather, he is back in action, but he is also back in romance, and in reflection, even contemplation, as he takes his audience into the traditions of martial arts.
This happens almost immediately, with striking music and chords, a painter’s palette and then an introduction to one grandmaster, Ip Man, in Foshan, 1936, and a wonderfully choreographed arts battle as Ip Man takes on a gang of thugs, all filmed in the rain. Martial Arts fans will know that Ip Man was something of a legend, especially in Hong Kong and was the guide for Bruce Lee (who is quoted at the end). But, this film offers a portrait of Ip Man (with the considerable presence of Tony Leung, star of several of Wong Kar Wai’s films). For those who want more information, there are two Ip Man films with Donnie Yen.
We are also introduced to another grandmaster who is about to retire, who is looking for a successor and who wants to preserve his techniques secret as a legacy for his family. Ip Man is successful, beating another contender Ma San (Chen) who is narcissistic and later accepts a post with the puppet-government serving the Japanese Occupation.
The other central character in the film is Gong Er, the daughter of the retiring master, who has learned the arts and is able to best Ip Man in contest.
However, Foshan is put under martial law. Ip Man loses his wealth as well as his wife and two daughters. He wanders the country during the war and finds himself in Hong Kong in the late 1940s.
Gong Er trains as a doctor but to preserve her father’s legacy, she foregoes marriage and sets up a clinic. She too moves to Hong Kong. As does Ma San who has confronted her father, betraying him.
Chronologically, the film meanders somewhat in time, focusing on one character, losing the others and then returning. There is a dramatic ending which brings all three together for a final contest.
While the film is not great storytelling, it is most impressive as a spectacle, powerful cinematography, vistas, close-ups, angles…
But it is with the Martial Arts that the film excels. There is dramatic choreography and superb editing. Indications are given of the range of moves, of the different traditions from different parts of China, and the control and concentration in the true exercise of the arts rather than just bouts of violence.
An unusual Chinese mixture.
1. A grand epic? Style, content? Scope? Chinese history, the 20th century, Japanese occupation, World War two, Hong Kong? Martial arts and the ethos? A contemplative epic?
2. The immediate impact: the pounding score, the visuals during the credits? The introduction to Ip Man? Coat and hat? His strong stance? The choreography of the initial fight, the editing? The rain? Setting the tone?
3. Forshan, 1936, the city, the streets, the brothels, opera, the martial arts and the masters? The contrast with the north, the occupation? The hard life? The contrast with Hong Kong about 1950? The great changes?
4. Quality photography, design, costumes? Transition from 1936 to 1950? The range of locations? The score and its moods?
5. The title, Gong as the grand master? Ip Man succeeding him? Gong Er succeeding her father? The hopes of Ma San?
6. The reality of Kung Fu? The variety of traditions? Naming them? The different styles, images, secrets? The legacies?
7. The director and his use of narrative? Not strong on biography? The different time phases, moving backwards and forwards? Impressions of characters? Characters within significant events? The invitation to contemplate the characters? Captions for times and places, lack of clarity? The effect for audience understanding?
8. Ip Man and his story: the initial fight, in the Foshan street, coat and hat, the lighting, the rain, the narrative by Ip Man and his voiceover? The choreography of the martial arts battle? His life in Foshan, his money, marriage, taking his wife to the brothel and the opera and the criticisms of other women? The encounter with Gong and his school? The possibility of becoming the heir to Gongs legacy? Demonstrating his skills? The encounter with Er, the conflict, the contest, his defeat? Martial Law in Foshan? His losing his money? His travelling, losing his wife and children? The photo of the family? Transition to Hong Kong after the war, his work, setting up the school, proving himself in demonstration? His students? Their loyalty? Encountering Er and being present at her battle with Ma San? The final discussion, her talk of loving him, the revelation at the end, his comments on her being defeated only by herself?
9. Er and her story? Love for her father, as a child, her learning the martial arts, relying on her father, devoted to him, the happy time of her life? Meeting Ip Man, the contest, her defeating him? The presence of Ma San? His relationship with her father? Her work at the clinic, doctor? The war, her traveling, the news of Ma San and his being responsible for her father’s death? Going to Hong Kong, after the war, the confrontation and challenge? Her father’s assistant, still with his monkey, loyal to her, at the railway station, the contest with Ma San, his defeat, his injuries, the train pulling out of the station? Her discussions with Ip Man? Declaration of love? A sacrificing of love, family, for her father’s legacy? Ip Man wanting to know the movements, her keeping them secret? Her reliance on opium? Her death?
10. Ma San, the Razor? Martial arts, Ma San not being good enough? His taking the job with the puppet government? The betrayal? His moving out of government? Going to Hong Kong, the gang, treatment of the young man, brutality? The final confrontation with Er, his injuries and defeat?
11. The character of Gong, the long tradition of schools for martial arts, in the north and the specialties, in the south and the specialties? The possibilities of bringing them together? And his reliance on his daughter? On Ip Man? The confrontation with Ma San and his death? His assistants, the loyal members of the school?
12. The picture of the schools, the disciples, the nature of the different arts, the amount of consciousness required to be masters?
13. The change in 16 years, from a kind of feudal China to modern Hong Kong? the extraordinary changes in China?
14. Ip Man and his subsequent career, his training Bruce Lee, the final quotation from Bruce Lee?
