The Grandmaster (Wong Kar-wai)

Master Yip.

Yip Man, whose life is a common favorite among filmmakers to interpret and is also perhaps the Asian cinematic equivalent of Abraham Lincoln, headlines yet another film about his chain-punching exploits. But this time, we've got a cinematic heavyweight at the helm in the form of Wong Kar-wai. Plus, we've got the Asian king of cool Tony Leung Chiu Wai as Yip Man himself. Despite the question of "The Grandmaster's" true necessity as a biopic (the 2008 Donnie Yen-starrer "Ip Man" may have already sufficed), the film has nonetheless sparked immediate interest among cinephiles because, why wouldn't it? It has Wong Kar-wai and Tony Leung Chiu Wai in it, not to mention that Zhang Ziyi (Zhang Ziyi!) is also part of it. It also has an amazing cinematography and an obvious promise for some solid, kick-ass martial arts action. Now who would not figuratively jizz all over such a project?

     

Set in Foshan a few years before the Japanese occupation (but then again, so was the Donnie Yen film), "The Grandmaster" chronicles, through Wong Kar-wai's trademark, quasi-poetic visual style, Ip Man's well-deserved rise to high esteem as a martial arts master and sudden fall as a wartime-stricken citizen. The film also fascinates by highlighting the fact that a brothel, named the "Golden Pavilion", has been the favorite haven among martial artists (and also the most preferred venue for their fisticuffs) during the time. Well, let's just say that it's kind of like the early 20th century equivalent of those modern, organic coffee shops and the masters themselves as the hipsters that inhabit them. Things indeed just recur. 

     

In a nutshell, well, the film is basically about this bunch of high-flying, philosophy-uttering bohemians who fight for some obsolete sense of pride, respect and discipline, even amidst a time of guns, bombs and widespread hunger. Surely, it was a fascinating thing to tackle, especially since the earlier "Ip Man" film is so much more focused on a bombastically illusory narrative (its title should have been "Ip Man vs. Japan") more than Yip Man's intensely spiritual personality. But still, "The Grandmaster" is, after all, supposed to be a martial arts film, and Tony Leung Chiu Wai, basically, is supposed to kick some ass. Heavy philosophizing, for me, should belong in other films. Hell, even his eventual student Bruce Lee, who also had his share of martial arts movies, would certainly agree. You don't mix forced dramatics, contrived verbal symbolism and uncalled-for romance with some good ol' bone-cracking action because, sooner or later, it would definitely overwhelm what the film is really destined to be. And alas, that's exactly what happened with "The Grandmaster". 

     

In some sense, the film has even lost itself halfway by not being about Yip Man anymore. Instead, it has problematically focused on what is an otherwise very sub-par revenge narrative instigated by what is otherwise a very forgettable character in the form of Zhang Ziyi's Gong Er. Now, that's two aspects right there that "The Grandmaster" has missed its mark on: first on being a true martial arts film, and second on being a memorable biopic.  

     

As for the imagery, well, you really wouldn't expect anything short of brilliant from Wong Kar-wai. Dream-like in its execution and peppered with Wong's fevered slow-motion shots, the film's visuals flow like an achingly beautiful lullaby. Suddenly, shades of Zhang Yimou's more reflective martial arts films come to mind. But then again, "The Grandmaster" is too weak and indecisive regarding what its narrative really wants to cover and whether its fight scenes were there to really matter that the film ultimately achieved only a third of its potential greatness. Sadly, the film is an 'almost' masterpiece. And with 'almost', I mean stuck in a gas station two miles away from its supposed destination. It really could have been so much more.

FINAL RATING 

Once Upon a Time in China (Tsui Hark)

Jet Li as the legendary Wong Fei Hung.

Highly kinetic martial arts film in terms of execution and framing that even the slower scenes look exhausting. Jet Li starred as the legendary Wong Fei Hung (previously played by Jackie Chan in "Drunken Master"), an herbalist/martial artist/patriot whose principles and nationalistic standpoint were caught off-guard by the sudden wave of American culture and western arrogance.

The film, directed by Tsui Hark, portrayed the Chinese as highly gullible people who will never back out from a fight yet will consider alien words that describe America (such as 'Gold Mountain' and 'gold dusts in the rivers') as absolute truths. Yes, it's chief villain were basically Americans (with irritating voices and performances) but never the entirety of the country's mores. The root of the conflict was not mainly a cultural clash, nor a friction created by opposite viewpoints. "Once Upon a Time in China", although at certain times heading into something as close as that, is not a propaganda film. It's a film that rendered illegalities at its most chaotic, and how a country bound in simplicity such as 19th century China would respond to such: with utter defiance, and some kicks and punches on the side to further the point.

There's no question about Jet Li's ability in fight sequences, but in his acting range, there sure is. I see him do flashy moves, repel fights, engage in some himself, rescue people, assist sick people with his herbal know-hows, but I never saw him do all of it as Master Wong. He goes through the more demanding scenes, actor-wise, with facial expressions that suggest indifference. We can't blame him. He's an action star. But I sure would have preferred it if he had brought some Jackie Chan-type enthusiasm into the character. The kicks landed perfectly, the punches were thrown with accuracy, I even felt the abundant patriotism in the air. But Wong Fei Hung, amid his highly impressive fight scenes and ballistic fingers (that match perfectly with some lead balls), is sorely missing both in presence and in character. And where's some drunken boxing?

FINAL RATING

Ip Man (Wilson Yip)

Fight scene.

Film Review Archive (date seen: December 21, 2010)

('Yip Man' is the person, 'Ip Man' is the film, just so anyone who bothers to read this review may easily identify which is which)

Call it too propagandistic, call Yip Man's cinematic rendition overly romanticized, but this film is possibly one of the best martial arts films I've seen, both for its flawless fight choreography (by Sammo Hung) and riveting narrative. And yes, Screw "Crouching Tiger, Hidden Dragon" for its wires, Yip Man can cut them with a single swat.

Donnie Yen is very impressive playing the legendary title role, having the quiet capability of administering his authority and presence thoroughly felt even at the film's very beginning. Aside from being a medium for artful fistfights, "Ip Man" also treated martial arts as an engrossing cultural craze that stormed 1930's China as an unexpected fad among the higher class.

The film isn't just about the fictionalized exploits of a Wing Chun grand master formerly living in the shadows of his superstar apprentice that founded the Jeet Kune Do fighting system (you know who he is), but also an uncommon (though a bit honey-glazed, I must admit) exploration of unconditional Chinese patriotism in the midst of imperial occupation.

Before, if somebody mentions to me the name 'Yip Man', I'll immediately visualize a thin old man slowly and wearily sparring with Bruce Lee. But after watching this film, a martial arts demigod more or less.

(Note for those who have already seen the film: The image above is simply captioned 'fight scene'. Need I say more?)

FINAL RATING

Crouching Tiger, Hidden Dragon (Ang Lee)

Asian superstars Michelle Yeoh and Chow Yun-Fat in Ang Lee's Oscar-winning film.

Film Review Archive (date seen: October 17, 2010)

I've heard how popular and phenomenal this film was many, many times so finally, I got the chance to see it. Well, for some reasons I can never quite grasp, I thought this one was not the very "great" film that the advertising and the Oscar awards made it appear to be.

Its beautiful cinematography is, of course, one of its great strengths, putting all of the characters in a Chinese landscape untouched by any CGI effects and letting its authentic beauty do wonders with the film's mise en scene (ironic given "Crouching Tiger, Hidden Dragon's" fantastical visuals). But the rest are forgettable at worst, especially the story. For 2 hours, we're given a narrative revolving around a search for a sword without any emotional crescendos to accompany the film's potential visual power; it's something like an uneventful trip in an otherwise very picturesque place.

It's a good martial arts film, but I thought Zhang Yimou's "Hero" is much better than this, and no way this defeated "Amores Perros" in the Best Foreign Language film category at the Oscars. Well, maybe the jury members were more inclined on a honey-glazed mythology than Alejandro Gonzalez Inarritu's rabid reality at the time.

FINAL RATING