By: debbie lynn elias
THE GRANDMASTER is a ballet of elegant imagery that captures and evokes intense emotion thanks not only to tacitly powerful and methodical performances by Tony Leung and Ziyi Zhang, but also thanks to the meticulous visual design and fascinating story structure. Writer/Director Wong Kar Wai weaves a web of mystery and mastery that is beauteous to behold on every level.
More than ten years in the making from the kernel of an idea by Kar Wai to the ultimate cinematic experience of THE GRANDMASTER, the story chronicles the life of the Wing Chun martial arts grandmaster, Ip Man, beginning in the golden days of martial arts during the 1930’s and focusing on his roots and his evolution both physically and spiritually up through the 1950’s and his ultimate teaching of the legendary Bruce Lee, the journey is not only historical but sumptuous in its presentation.
From the start, one is captivated thanks to Kar Wai’s visuals; the super saturation of color and rapier edged imagery and editing showcasing the breathtaking and sumptuous production design and use of color. The highly stylized glossy visual finish just adds a layer of brilliant elegance that gives an almost tactile feeling of crystal or fine china, Ming vases, with a breathtaking feel of “look, but don’t touch.” Framing of each shot is perfection. But then once mesmerized, the audience is drawn deep into the film and history itself with artful storytelling and craftsmanship. I would seriously be pushing cinematographer Philippe Le Sourd for an Oscar nod, as well as art directors Bll Chang Suk Ping and Alfred Yau Wai Ming. Breathtaking visual perfection on every level.
Picking up the story in the mid 1930’s, we meet a 40 year-old Ip Man. A quiet, distinguished Cantonese gentleman of privilege, Ip Man lives in Foshan. Known for being a pulse that beckons martial arts experts of every discipline, we are quickly introduced to principals in the martial arts world, as well as the various disciplines as the aging reigning Grandmaster, Gong Baosen, looks for someone to take on the title of Grandmaster as the “new blood.” Facing off with Ip Man, it is clear who THE GRANDMASTER is, something that does not sit well with Baosen’s daughter, Gong Er, who believes she should have the title to carry on the family legacy.
As quickly as romantic stirrings appear between Gong Er and Ip Man, they are torn apart by war, with each moving on in life, tethered together only by poems which also soon fade.
Shifting this chapter of the story to Gong Er, she is determined to defend her family honor and reputation at every opportunity and as she did with Ip Man, now faces off against Ma San. As time passes and the Revolution wages on, it is destined that Ip Man and Gong Er will meet one more time. But will it be as friend, lover or foe?
As Ip Man, Tony Leung mesmerizes with steely mental resolve and calm, methodical control. The contrast of Ip Man’s emotional control with the razored rapidity of not only his, but the multiple other martial arts discipline, keeps one invested in the story as it throws one off balance much like a martial kick that catches you by surprise.
The relationship between Leung’s Ip man and Chang’s Gong Er is pure poetry, a dance of controlled emotion with the story being told through the intensity and softness of their eyes. The tacit expressiveness that each conveys through just their eyes is both hypnotic and heartbreaking. And then you have simple elegant quiet scenes focusing on a single coast button. Rip the heart out, why dontcha!! The tender sweetness and power of that button and Leung just fills the soul watching the purity and conviction of a star-crossed lover.
As Grandmaster Gong Baosen, Wang Qingxiang brings a regal and respectful element to the film. His mere presence and the staging of each scene is humbling. You feel as if you are not only watching, but are in the presence of, greatness. One can’t help but love the duplicitious element that Zhang Jin gives to Ma San. Effectively delicious. Chang Chen as The Razor is a fun element with his Baji style of the arts that just explodes at a moment’s notice.
Locations stun and amaze as does the detailed history not only of the Republican era but of the provinces and the specific martial arts disciplines of each region. I learned so much about not only China’s history but even more about Wing Chun and Bagua than what I have already learned from Jackie Chan, Jet Li and Jean Claude van Damme. And I knew nothing about Xingyi.
Jaw-dropping is a train station sequence that captures the final meeting of Ip Man and Gong Er. As amazing as the train station sequence was in last year’s Anna Karenina with Keira Knightley in respect to Imperial Russia, that in THE GRANDMASTER is equal to, if not better in its scope of detail, grandeur and authenticity.
There is no better martial arts choreographer than Yuen Wo Ping and with the multiplicity of martial arts disciplines showcased in THE GRANDMASTER, he exhibits not only his understanding and mastery of each, but the structure, elegance and ferocity. Between the amount of choreography, not to mention the intricacies of it and the sheer amount of disciplines displayed, it’s easy to see how Tony Leung broke an arm during not only training, but shooting as well.
The elements of dignity and respect permeate THE GRANDMASTER filling every character, every room, every scene. So impactful, it gives one the sense just by watching they should sit a little taller, raise their chin a tad higher and pay respect to what’s being watched with the same reverence as those who are this history and those who are now bringing it to life. A perfect blend of physical and philosophical discipline. Honor, respect, pride and dignity are something we really only see in these intimate grand scale stories from China or to a lesser degree, Japan, and no one brings it to life .
THE GRANDMASTER is both masterful and a masterpiece.
Written and Directed by Wong Kar Wai
Cast: Tony Leung, Ziyi Zhang, Wang Qingxiang, Zhang Jin, Chang Chen, Cung Le
