The Grandmaster

 

MPAA/Content PG-13 [AC, V]

Distributor The Weinstein Co.

Technical 35mm 2.35:1

Genres BIO MAR DRA

Runtime 108 mins.

Countries Hong Kong / China

Budget $38M

 

CAST

Tony Leung, Zhang Ziyi, Chang Chen, Zhao Benshan, Song Hye-Kyo, Wang Qingxiang & Yuen Wo Ping

 

CREDITS

Director: Wong Kar-Wai;  Screenwriters: Zou Jingzhi, Xu Haofeng & Wong Kar-wai;  Producers: Wong Kar-wai & Jacky Pang Yee Wah;  Director Of Photography: Philippe Le Sourd;  Production Designers: William Chang Suk Ping & Alfred Yau Wai Ming;  Editor/Costume Designer: William Chang Suk Ping;  Music Composers: Shigeru Umebayashi & Nathaniel Mechaly

 

THE SYNOPSIS

Yip (Ip) Man (Leung) is a famous and well-respected Wing Chun master who reflects on his interesting-but-often-turbulent life.  China, 1930s: When not worrying about the advent of the Japanese Imperial Forces into his homeland, Ip is constantly challenged to fight against other martial artists and their schools.  Enjoying a privileged life with his lovely wife Cheung Wing-sing (Hye-kyo) and students that worship him, Ip earns everyone’s respect.

Things change when a league of Northern China Martial Artists—headed by respected Grandmaster Gong Yutian (Wang Qingxiang)—arrives to challenge the Southern-style Ip Man, selected by his Society as their representative.  Ip beats the Northerners handily and earns Gong’s respect.  His skilled daughter Gong Er (Ziyi) refuses to give in and challenges Ip to another fight.  She wins on a technicality—but they develop a special bond that transcends the coming turbulent years of war, alienation and separation.  Ip Man loses everything during World War II and leans on his martial arts discipline to carry him through it all.

Years later, Ip lives in Hong Kong and has established the best school in the region.  He takes on as a student a rebellious child actor named Lee Jun Fan—who went by his given name Bruce Lee.

 

THE CRITIQUE

Not to be confused with the 2008 film Ip Man (starring Donnie Yen), the handsomely-mounted THE GRANDMASTER is also based on the interesting-but-turbulent life of martial arts master Yip Man (1893-1972) (referred to in China colloquially as Ip Man).  The film is co-produced, co-written & directed by Hong Kong auteur Wong Kar-wai (Chungking Express, Happy Together, In The Mood For Love, 2046)—who shows reverence for his subject matter, mastery of the technical aspects of production and an appreciation for his talented group of thespians.

Speaking of which, Hong Kong Cinema staple Tony Leung brings humanity and veritas to the role of Sifu Yip while the very lovely and talented Zhang Ziyi also impresses as the lover that would never be and a fierce fighter that would always be.  As I understand it, Leung broke an arm practicing Wing Chun for the role.  Now that’s method training!

Production values for the $38 million production (WikiPedia.org)—filmed entirely in China—are top-shelf across the board.  I especially loved the handsome, widescreen-lensing (on film!) by French cinematographer Phillipe Le Sourd (A Good Year, Seven Pounds)—encapsulating the China of yesteryear with lovely earth tones and soft blues/grays.

To get an idea of what I am saying about the mise-en-scène, check out the opening fight sequence in the pouring rain; it is a perfect melding of cinematography, fight choreography, sound FX and crisp editing—courtesy of Wong’s regular cutter William Chang Suk Ping (Chungking Express, Happy Together, In The Mood For Love, 2046).  To save money, Mr. Chang also doubles as Wong’s production designer—and it is a credit, as the film’s scenic/artistic design is reminiscent of the gorgeous sets used during the golden days of Shaw Bros. movies.  Gosh darn lovely!!

The main issue I have with this version of THE GRANDMASTER (a truncated 108 mins.—as opposed to the original 130-minute runtime…and I’m not blaming the editor, here) is that The Weinstein Company (in their marketing schema) posit this film as a martial arts extravaganza; and while there is some dynamite martial arts choreography present—courtesy of choreography maven Yuen Wo Ping (Drunken Master, The Matrix Trilogy, Crouching Tiger Hidden Dragon, Kill Bill: Vols. 1& 2)—the reality is that THE GRANDMASTER hews more towards a biographical story (like 1987’s The Last Emperor…minus the epic sweep).

I’m okay with it, personally—as a martial artist who dabbled in Southern-style Fu Jow Pai, among other systems—and a casual student of Chinese History, this stuff fascinates me to no end.  However, while its cultural and martial arts mores have deep meaning in China—the film’s more esoteric aspects will be probably lost on most American moviegoers…who will expect plenty of Kung-Fu fighting based on the trailers and marketing campaign employed by TWC.

Another case in point: historically, and in the ads, Ip Man is touted as being Bruce Lee’s teacher—yet it is presented in the film as a mere footnote.  I would have loved to have seen the remaining 15 minutes or so devoted to the training of the once and future King of Martial Arts—who came to Ip Man as a talented-but rambunctious teen.  A missed opportunity, indeed.  Still, THE GRANDMASTER is lyrical filmmaking at work.  I’d love to see the entire version to compare it to what I write about here.  Thank goodness for blu-ray!!

 

THE BOTTOM LINE

THE GRANDMASTER is a handsomely-mounted production based on one of the Kung Fu Collective’s most revered masters.  The film’s more cultural and esoteric aspects will be lost on most American moviegoers…who will expect plenty of Kung Fu fighting.  What homegrown audiences get instead is a truncated biographical story with awesome martial arts on display.  Well-directed, well-acted—and possessing august mise-en-scène to boot—this one rises above standard chop-socky exploitation.

 

IMDB:                    http://www.imdb.com/title/tt1462900/

Wikipedia:             http://en.wikipedia.org/wiki/The_Grandmaster_%28film%29

Official Site:          http://en.wikipedia.org/wiki/The_Grandmaster_%28film%29