O Grande Mestre

When Wong Kar Wai announced he will start to make a movie about Ip Man, a few followed, all made and shown with success before Wong complete his. Knowing that a WKW movie is never straightforward story-telling, I know his will be different from all others but wonder how different will it be compared to his "Ashes of Time". I will not write anything about the story or the script as I believe it will take some joy away from anyone who is going to watch it. I watched the original first released version. I am dumbfounded, especially with Zhang Ziyi(Crouching Tiger, Hidden Dragon, Memoirs of a Geisha, 2046)and Tony Leung's action. They are not Jet Li or Michelle Yeoh but in this movie, they fought so convincingly well that you will think they really know Wing Chun(a type of Chinese Kung-fu). For those who find Wong Kar Wai's past movies too stylish, artistic or difficult to understand, this one is different and most suitable for the general audience but without lacking in style or arts. If there is any complaint, it will be from fans of Tony Leung who may feel that he is overshadowed by Zhang, especially in the action scenes. Just like her Crouching Tiger movie, I believe she acted so well, so much so that the director kept more of her scenes for the final movie.(She is nominated for best actress in the coming China-equivalent of the Oscar). Never have I seen any movie in the past where an actress did so well in both action and drama scenes in the same film. Another actor deserved a mention is Taiwanese Zhang Chen; he is equally as compelling as Zhang in both action and drama here although his screen time is short. Tony Leung did not give me any surprise aside from the action scenes. As for the cinematography, editing and the rest, I think others have already raved enough. Go watch it before reading too much. This is what I call a real movie. It's meant to be seen, not read.

'THE GRANDMASTER': Three and a Half Stars (Out of Five)

Critically acclaimed Kung Fu epic about legendary Chinese martial-arts master Ip Man. Ip Man was the Wing Chun grandmaster and his most famous student was Bruce Lee. This film chronicles the years leading up to his success as a martial arts teacher. It stars Tony Leung Chiu-Wai as Ip Man and Zhang Ziyi as Gong Er, his main love interest. Kar Wai Wong directed and co-wrote the movie (with Jingzhi Zou and Haofeng Xu). Wong is famous for directing and writing other popular Hong Kong period piece dramas like '2046' and 'IN THE MOOD FOR LOVE'. I'd rate this flick about the same as Wong's others; I thought it was extremely beautiful to look at but it's also a tad too hard to follow and uninvolving.

The story focuses as much on Gong Er (Ziyi) as it does Ip Man and follows a love story between the two as they keep in contact for many years following a fight for Gong's family's honor. Ip Man had defeated her father, Gong Yutian (Wang Qingxiang) in a battle that was as much about philosophical ideas as combat. The film follows Ip Man's years during the Second Sino-Japanese War, in 1938, struggling through poverty with his family. It also focuses on Gong Er's attempt at vengeance against the man who murdered her father, Ma San (Zhang Jin).

The story is told in a very disjointed way and it was really hard for me to keep up with what was going on in it. I often find these epic Hong Kong Kung Fu flicks to be dull anyway and wasn't too interested in seeing this one. It did get mostly good reviews from critics though and it's nominated for two 2014 Oscars (in Cinematography and Costume Design). It definitely deserves those award nominations and is very breathtaking to look at. I also think Zhang Ziyi is one of the more beautiful and sexy women in cinema today and she gives a great performance here. I'm not sure how I feel about Leung Chiu-Wai as an actor, he's not bad in this movie but I didn't really learn to care for his character much at all. The martial-arts scenes are grand and epic though and I'm sure fans of the genre will be more than pleased.

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"Don't tell me how good your skills are, how brilliant your master is and how profound your school is. Kung fu - two words - one horizontal, one vertical. If you're wrong, you'll be left lying down. If you're right, you're left standing. And only the ones who are standing have the right to talk."

For all intents and purposes, the film began as a biopic of one man – to be more specific, Ip Man, the influential kung-fu master who was instrumental in spreading the Wing Chun style around the world and who was perhaps better known for being Bruce Lee's master. But in the midst of exploring Ip Man's life, Wong must have been suddenly struck by the thought - What exactly makes Ip Man so special? Or even better, why should a movie set in the golden age of martial arts be solely about one grandmaster?

And so, despite Leung's omniscient voice-over, 'The Grandmaster' is in fact not about Ip Man alone. Be warned therefore, if you are expecting a movie focused on Ip Man, because you're likely to be sorely disappointed – as Tony Leung reportedly is – that you're likely to know more about the Man from the Donnie Yen films.

Indeed, the narrative is the film's biggest handicap, though to be fair, it only becomes apparent later on. The first half-hour begins strongly with a rightful focus on Ip, and key highlights include his initiation into martial arts by his master Chen Heshun (Yuen Woo-Ping) and his loving marriage to Zhang Yongcheng (Song Hye-kyo). Ip's first challenge would come with the arrival of Gong Yutian (Wang Qingxiang), a venerable kung fu master from northeastern China looking to consolidate his power in the southeast even as he retires.

After Ip goes on to win the battle of minds with Gong, the latter's daughter Gong Er (Zhang Ziyi) stands up to challenge Ip yet again in a bid to restore her family's reputation. That duel also marks a turning point for the movie, which shifts away from Ip and explores the vendetta that ensues between Gong Er and her father's power-hungry protégé Ma San (Zhang Jin) against the backdrop of the Japanese occupation of China.

Against the better advice of her elders, she forsakes her betrothal to avenge the death of her father at Ma San's hands, which culminates in a thrilling battle set at an old railway station in Hong Kong one New Year's Eve. Where is Ip Man's involvement in all this? Admittedly there is little.

Though Wong does bring Ip back into the picture towards the end of the film, his audience is likely to have grown too emotionally detached from the character. A scene towards the end that portrays supposedly the last time Ip met Gong Er is infused with the director's signature sense of longing and regret as the latter reveals her feelings for the former, but how that bears relevance to what Wong is trying to say about Ip or Gong Er's tumultuous lives is too obscure.

In fact, throughout the film, Wong offers little insight into the person of Ip Man. What might have been a meaningful portrait of his relationship with Yongcheng is lost when the latter is practically forgotten in the second half of the movie. We learn little too of Ip's relocation to Hong Kong, and how he built up his reputable school for Wing Chun. All things considered, a more coherent portrait of Gong Er actually emerges from the movie.

Rather than regard it as a Ip Man biopic therefore you'll be better off seeing it as Wong's philosophical musings on martial artists. Fans of the auteur will recognise these familiar themes from his previous works, but Wong's treatment is still unparalleled in conveying regret, longing, and unspoken desires – whether is it Ip Man and Gong Er's mutual affection for each other, or Gong Er's lament for a life less fully lived.

Le Sourd's visuals are also particularly ravishing in the action sequences, designed with much imagination and flair by veteran choreographer Yuen Woo-Ping. The opening sequence that sees Ip Man take on a whole gang of men along a rain-soaked street is filmed with utmost clarity on the beauty and precision of the moves, with the subsequent duels between Ip Man and Gong Yutian as well as Gong Er equally breathtaking to behold.

Keenly aware of the actors' limitations, Yuen goes for elegance over spectacle. Nonetheless, both Tony Leung and Zhang Ziyi also perform impressively given their lack of a martial arts background, the months of training to get them prepared physically for their respective roles paying off in the grace and confidence by which they execute their moves.

Nonetheless, Zhang easily trounces Leung in the film's dramatic scenes, the former's combination of grit and vulnerability making Gong Er a more compelling figure than Ip Man. The fault of course isn't Leung's alone, as his usual penchant for nuance and understatement unfortunately working against his portrayal in a narrative that pretty much relegates his character's account as a marker of the passage of time.

Of course, narrative was never a strong suite in Wong's films, which typically were mood pieces boosted by his signature artistic flourishes. These trademarks are still very much alive in 'The Grandmaster', which is easily one of the most beautiful kung fu movies ever made. But plot plays a much more important role here than in Wong's other films, since it is ultimately through Ip Man's experiences in life that we come to understand his deeper introspections. This is where Wong's film stumbles, relegating Ip Man to a sideshow instead of placing him front and centre – and given all that hype and expectation of Wong's Ip Man biopic, the cut we see here can only be regarded as a disappointment.

The Grandmaster is another film which tells a snapshot of the life of Ip Man and as such perhaps doesn't stand out as something worth seeing on this basis alone, however the director and the cast both attracted me to the film. The plot follows Ip Man as he rises in status thanks to an interaction with Master Gong Yutian. Man and Yutian's daughter Er start a relationship based on their martial arts although Man is married and Er is driven by other forces and cannot be together. Things take other turns when the Japanese occupy China and Man and Er's lives take different paths.

I have written about the plot here but really this is not a part of the film where it is at its best. There is an engaging tone of tragic restraint which is generated from the themes of honor, respect, love and loss but generally the film doesn't make the most of these. The biggest problem is the way the film is structured – it feels very freeflowing and not focused on delivering a narrative so much as a flow or feel. In some ways I liked this a lot but in others it did leave me outside looking in too often. Characters strike poses and expressions that show their pain and their challenges but the material doesn't bring that out as well as I would have liked. Fortunately the performances of the main cast show that they have understood this even if the film's structure doesn't help them. Tony Leung gives us a lot with very little; he has a very expressive face and this he uses well. Ziyi Zhang deserves credit too as she delivers a strong performance – one that really would have benefited from more structure in the overall delivery. The supporting cast features several engaging turns (Qingxiang Wang, Chen Chang and others) but the real star of the film is Kar Wai Wong and his cinematographer Philippe Le Sourd.

I say this because the film is at its best in the stylish visual packaging. The martial arts action is well choreographed and enjoyably and skillfully delivered, but around this there is a great deal to enjoy as the camera captures so many beautiful scenes and beautiful shots, whether they be a fight in the pouring rain or a great shot of a static character. Visually the film really captivated me and the only downside of this was that it made me realize that the story didn't do this as well. The film is still worth seeing but the fragmented structure means it will feel like it is delivering bits of the story and expecting us to be really engaged in the characters even though it very much jumps into key points without a great deal of a link.

Some may say Ang Lee's Crouching Tiger and Hidden Dragon (You can't beat its award score), other may say Zhang Yimou's "Hero" or Bruce Lee's Fist of Fury or Chow's Kung Fu Hustler if you like comedy. I would will say Wong Kar Wai's Grandmaster is the best Kung Fu movie ever made.

First Crouching Tiger is more wuxia than kung fu, as it is about swordfight and you do not know any style of kung fu used in the film (are they really Wudang?). Then comes Zhang Yimou's "Hero" with a classic fight scene between Jet Li and Donnie Yen which is simply the best sword-fight in film history, only to be matched by the classic fist-fight between Bruce Lee and Chuck Norris in Way of the Dragon. But I would say Zhang's film is too political in context and Bruce's top notch is more physical than spirit (and the whole of his top kungfu film is not satisfying).

Wong's Grandmaster wins in spirit, in style more than in physique and awards. With long research and a semi-documentary style film-making, Wong has made a film about kung fu in its naked self, i.e. in blood, in sweats and in tears (hard work, stamina, suffering, sacrifice and national / world heritage). I prefer the title "Grandmasters" instead of "Grandmaster" as the film is more about an age represented by many martial artists and styles in kung fu depicted and above all in Ip Man (Tony Leung), Gong Er (Zhang Ziyi) and Yixiantian (Zhang Chen). Though in order to make the film shortened from 4 to 2 hours, perhaps significant parts about Yixiantian has been cut out so that the film may look unfinished but the unfinished parts only makes one long for seeing more - its full form.

In martial art, it is always the heart that counts, or in this respect, any kind of arts, inclung of course film art. For filming the Grandmaster, Wong has justified himself a film director with a heart of a grandmaster, not only in China, but also in the world like Ip Man.