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9

Kai82Dec 22, 2019

A movie which avoids much of cliches. The Grandmaster tells a beautiful slice of life story with lots of philosophy and martial arts. It tells many things more sub-tile and wants the viewer to make the connections. It shows a lot of theA movie which avoids much of cliches. The Grandmaster tells a beautiful slice of life story with lots of philosophy and martial arts. It tells many things more sub-tile and wants the viewer to make the connections. It shows a lot of the chinese culture, philosophy and mentality. The story and character arks are well paced and executed. All main actors are great and the side actors are equally good. The music by Shigeru Umebayasi is awesome. If I am correct it reached Nr. 1 spot in some charts. Overall this is a must see movie not only for martial arts fans. Be warned that this is not a typical martial arts action movie or you will be disappointed.… Expand

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8

RoachramirezMay 22, 2014

Muy buena historia es lo que mas me gusto. no tienes que ser un fan de las artes marciales. tiene accion drama. la fotografia es de lo mejor y como mesclan lo videos reales me gusto.

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7

SilverscreensnoMay 11, 2014

Director - Kar Wai Wong

Starring - Tony Chiu Wai Leung, Ziyi Zhang The Grandmaster is a film about Ip Man, a master of Wing Chun and the teacher of one of the world's greatest and best known martial artists, Bruce Lee. However, do notDirector - Kar Wai Wong

Starring - Tony Chiu Wai Leung, Ziyi Zhang

The Grandmaster is a film about Ip Man, a master of Wing Chun and the teacher of one of the world's greatest and best known martial artists, Bruce Lee. However, do not expect to see Mr Lee, there is only the merest mention of his name in the final moments of the film.

Also, do not expect a movie chock full of action; although there are obviously fight scenes, most are short, bloodless and at times just there to showcase the amazing martial arts styles.

There has been a previous film about Ip Man, entitled, surprisingly, Ip Man (2008) and starring Donnie Yen. Where that film was more action (presumably to capitalise on Yen's ability), this is more subdued and reflects on the history of not only Ip Man, but the essence of Kung Fu, in particular the style of Wing Chun. The script is littered with wise sayings and philosophical teachings giving the impression that The Grandmaster wants to delve behind the fighting and be driven by the characters.

In Tony Leung the film has a strong lead. He exudes charm and is convincing in his role as a Wing Chun master (Leung is better known for his dark and brooding roles in films such as Infernal Affairs and In the Mood for Love). He stars alongside Ziyi Zhang as Gong Er, the daughter of another Grandmaster who has a love/hate relationship with Leung's Ip Man. Zhang is beautiful and graceful, the perfect ice maiden. However it is this very quality that sometimes makes it hard for the audience to fully sympathise with her character; her facial expressions rarely go beyond a steely stare. Given she is part of the film's more sentimental storylines, it is hard for the viewer to truly understand what is going on, especially in the dialogue free parts.

Unlike the previously mentioned Ip Man, this film spans a much longer time-line, from 1936 China to Hong Kong in the 50s. The Second Sino-Japanese War, which is central to Yen's film, is a small section which is only there to show us why Ip Man leaves China in the first place. Indeed large blocks of text flash up thorough out the picture to give us information and remind the audience that this all really happened.

The film is beautifully shot; Kar Wai Wong uses the elements to dazzling effect. Snow, rain, blossom, steam... all are used to create a wondrous sight and visually stunning pieces (the sequence at the train station is a perfect example). The white plains of Northern China, described as harsh by characters, are nothing short of breath taking under his direction.

If you want a film that gives us an Ip Man of action, then I highly recommend Donnie Yen's 2008 movie. However if you prefer a more character driven and thoughtful piece, then this will be more than satisfying.… Expand

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10

sfzendogNov 28, 2013

There's no accounting for taste, I know, but the next-to-last scene between Tony Leung and ZiYi Zhang should be required for any actor. (I am a professional actor.) So much feeling and information passes between these two people without aThere's no accounting for taste, I know, but the next-to-last scene between Tony Leung and ZiYi Zhang should be required for any actor. (I am a professional actor.) So much feeling and information passes between these two people without a hint of "selling"---doing nothing more than actually inhabiting the deepest feelings. It's a tour de force. Personally, I love the movie, but I can't imagine anyone walking away from such a scene and not being moved. It's hard to shake the feeling that a reviewer who called this stupid is not revealing more about themselves than they intended.… Expand

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10

ZergaZOct 11, 2013

This movie is funny becuse you know some people in the cinema going to like it. That's why i love this film. it made me so happy that other liked this!

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8

azazqadirSep 29, 2013

This is not your usual kungfu movie. The Grandmaster is epic journey of the life of Yip Man. With great story, awesome setting, and even better soundtrack; Grandmaster is easily an Oscar level movie in my personal opinion.

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8

catcarloSep 23, 2013

Estetizzante? Eh sì, estetizzante già a partire dagli splendidi titoli di testa tutti giocati su colori che continuamente si mischiano e si perdono. Poi ci sono gli insistiti primi piani degli attori, un’accurata ricostruzioni di interniEstetizzante? Eh sì, estetizzante già a partire dagli splendidi titoli di testa tutti giocati su colori che continuamente si mischiano e si perdono. Poi ci sono gli insistiti primi piani degli attori, un’accurata ricostruzioni di interni sia in una Cina d’anteguerra che pare fuori dal tempo, sia nella più urbana Hong Kong degli anni Cinquanta e il chiaroscuro fortemente contrastato in cui risaltano i visi e gli oggetti spezzato solo dal biancore della neve della terra del nord. Per non parlare poi dei combattimenti, in cui la violenza stilizzata in fascinose coreografie che li fanno davvero assomigliare a balletti (già l’idea del coreografo apposito intrigante come poche) o, infine, della pioggia che batte impietosa nei momenti di confronto più duro e qualche parentela con ‘C’era una volta in America’ ce l’ha e difatti ecco spuntare il ‘Tema di Deborah’ nella scena dell’addio in una buia strada secondaria. La vendetta di Gong Er si consuma invece sotto la neve in una stazione felliniana e si potrebbe andare avanti ancora, ma diciamocelo con franchezza chi se ne frega? Perché l’elenco di cui sopra che pure potrebbe continuare fonte di un vero piacere per gli occhi ma anche per il cervello e il modo migliore per goderne lasciarsi andare al flusso delle immagini, come ascoltando una sinfonia inutile star lì a contar le note: vero che se la scrittura avesse la stessa qualità, lo stesso rigore della parte visiva staremmo a parlare di un capolavoro e non solo di un ottimo film, ma la pellicola regala comunque splendidi momenti. La biografia di Ip Man maestro di kung-fu il cui allievo migliore e più famoso Bruce Lee stata più volte trattata dal cinema di Cina e dintorni: Wong Kar-Wai, che stato uno dei primi a pensarci, arriva da buon ultimo a causa, si racconta, di una maniacale cura al montaggio che ha portato via almeno un anno. La sua scelta suoi anche il soggetto e, seppur in collaborazione, la sceneggiatura di raccontare per quadri prendendo pochi momenti significativi e legandoli con didascalie (in cinese anche nella versione italiana e lette da una voce fuoricampo): la scelta del maestro del nord Gong Yutian di fare di Ip Man il suo discepolo al sud, il rapporto dello stesso Ip con la di lui figlia Gong Er, la guerra che sconvolge la vita del protagonista, la sua lenta rinascita da profugo a Hong Kong dove ritrova Gong Er che, dopo aver vendicato il padre, sembra non avere più scopo nella vita. Una narrazione in cui non tutto funziona, con personaggi che appaiono e poi spariscono, ingenerando qualche disorientamento (ho confuso per un bel po’ Ma San con il Rasoio e, comunque, non ho ancora ben chiaro il ruolo di quest’ultimo nell’economia generale della storia), ma comunque un difetto che, dato tutto il resto, si perdona facilmente. Altrettanto succede con un finale un po’ tirato per le lunghe, anche se giustificato ‘teoricamente’, visto che i protagonisti mettono in pratica l’ultimo degli insegnamenti di Gong Yutian, la capacità di guardarsi indietro. Del resto, l’arte marziale vista come una filosofia di vita un assioma che ben conosciamo, ma, attenzione, se questo un film sul kung-fu, teorico e pratico, non meno importante la storia d’amore tra Ip Man e Gong Er. Un rapporto stilizzato anch’esso e puramente platonico, fatto di sguardi e dialoghi asciugati con cura (a volte si ha un po’ l’impressione che tutti quanti parlino per frasi fatte): all’inizio, lui fedele alla bella moglie e alla famiglia, mentre quando i due si ritrovano lei non ha più niente da dare. Un sentimento impossibile che comunica l’infinita varietà di sfumature e possibilità che possono intercorrere tra un uomo e una donna, una situazione ben diversa da quella presente nel kung-fu dove come afferma di Ip Man ‘esistono solo due parole: orizzontale e verticale. Commetti un errore: orizzontale. Sei l'ultimo che resta in piedi e vinci’.… Expand

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7

lasttimeisawSep 12, 2013

As film buffs are all acclimatized with the fact that every Kar Wai Wong’s project has to endure an excruciatingly procrastinated process of filming and editing since IN THE MOOD FOR LOVE (2000, 9/10), an almost six-year gap between THEAs film buffs are all acclimatized with the fact that every Kar Wai Wong’s project has to endure an excruciatingly procrastinated process of filming and editing since IN THE MOOD FOR LOVE (2000, 9/10), an almost six-year gap between THE GRANDMASTER and his first misfired Hollywood foray MY BLUEBERRY NIGHT (2007, 8/10) does manifest Wong’s perverse assiduity and forbearance on his own artifact, apart from the sporadic but stretching-out shooting spells, Wong is also universally distinguished for other idiosyncrasies such as script-less improvisations for his cast, the stylish oriental aesthetics dramatized by the over-sentimental score, larger-than-life characters uttering aphorisms with philosophic undertones and last but not the least, the cinematography brimful of vim and vigor (on this occasion, Philippe Le Sourd is the new DP).

I’ve been consistently vouching for Wong simply because he is my favorite Hong Kong director, albeit his perceptible slump of his career orbit in the noughties, even his less-successful esoteric saga-tale 2046 (2004, 9/10) has won me over without a hitch. THE GRANDMASTER reunites Tony Leung and Ziyi Zhang as rivals-cum-mutual-attracted-contemporaries Kung Fu masters Ip Man and Gong Er, spanning over 50 years in the tumultuous southern China from the beginning of 20th Century, despite of its 130 minutes length (I watched the Chinese theatrical version), the film somewhat stymies its audiences from getting a comprehensive grip on Ip Man, the nominal protagonist, instead, it leans heavily on the plot of Gong Er’s obstinate revenge for her father’s demise, maybe Chinese viewers have already fed up with a plethora of Ip Man on screen (notably Donnie Yen’s Ip Man series), so this approach lends Ziyi Zhang a rare platform to outshine Tony Leung in rendering a meatier portraiture of a woman’s fortitude and pluck in the male-dominant Kung Fu métier.

The dazzling action sequences are scattered wantonly among Wong’s slow-paced, micro-distant frames zero in his players’ amber countenances, the opening fight manages to achieve an ultra clarity of splashing raindrops in the Stygian night, and the subsequent ones are all meticulously shot with slow-motion interactions and two thumbs up for all the actors, name-checking Tong Leung, Ziyi Zhang, Max Zhang and Chen Chang for their strenuous endeavor in their martial arts training.

While Japanese composer Shigeru Umebayashi continues his collaboration with Wong,
Stefano Lentini’s adaption of soprano piece “Stabat Mater” imprints on one’s mind profoundly in this otherwise over-scored Kung Fu spectacle. My first viewing may fall short below my much-hyped anticipation, the disjointed narrative (most obtrusively is the largely-subtracted subplot of Chen Chang’s Yi Xian Tian) and underdevelopment of Ip Man’s own storyline cast a shadow in Wong’s latest offering, one might compulsively wonder who is the real grandmaster here, the taciturnly suave Ip Man or the intrepidly determined Gong Er?… Expand

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9

TroianmanSep 7, 2013

I enjoyed this movie a great deal. Though it should be stated up front that this particular movie is in a very different style than the previous movie depicting the life of Ip Man, and that it takes a few liberties with his story for the sakeI enjoyed this movie a great deal. Though it should be stated up front that this particular movie is in a very different style than the previous movie depicting the life of Ip Man, and that it takes a few liberties with his story for the sake of a major portion of the plot.

The majority of fight scenes were choreographed as if two opponents were dancing on a stage and just as beautiful to watch. The pacing might be a bit slow for some audiences but lets be honest, that isn't the audience this movie is going for with its incredibly artful approach and major emphasis on story instead of just endless fights for no reason so the pacing argument doesn't really hold much weight.

Virtually the only complaint I had after walking out of the theater was that there were some scenes which seemed unfinished or like something else was meant to be there but was obviously not. After looking into this I quickly discovered that it is because there was actually something else there in other versions. American audiences are receiving a version that is about 20 minutes shorter than the cut shown to other audiences and that 20 minutes is all story that is missing. So while the version in America suffers from unfortunate editing it seems that the full version/director's cut/international version/whatever you want to call it likely does not. Of course the only way to confirm this will be to wait until the DVD/Blu-Ray release which will hopefully be a director's cut. Even without those 20 minutes it is incredibly satisfying to watch and I would completely recommend this movie to anybody even remotely interested.… Expand

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10

ProteusAug 31, 2013

The first 2/3 of this movie is interesting and beautiful. Then, it is Hong Kong 1952 and a flashback to 10 years earlier occurs. The movie then goes to a whole new and mesmerizing level for the final third of the film.

There are manyThe first 2/3 of this movie is interesting and beautiful. Then, it is Hong Kong 1952 and a flashback to 10 years earlier occurs. The movie then goes to a whole new and mesmerizing level for the final third of the film.

There are many things to enjoy about this movie. Go see for yourself and enjoy the cinematography, editing, acting, action choreography, script, music and overall tone and mood of this gorgeous movie.… Expand

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10

figgle20Aug 30, 2013

Definitely the best one among numerous martial arts films! This movie is more than Kung Fu. It is a sound story introducing a fundamental spirit of Chinese culture. Stronger on Kung Fu does not necessarily mean a stronger image. It is visionDefinitely the best one among numerous martial arts films! This movie is more than Kung Fu. It is a sound story introducing a fundamental spirit of Chinese culture. Stronger on Kung Fu does not necessarily mean a stronger image. It is vision and breadth of mind.… Expand

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10

xhn1025Aug 30, 2013

It is not just Kung Fu, it is spirit. Keep the light burning.

The Grandmaster is, at its most persuasive, about the triumph of style. When Ip Man slyly asks “What’s your style?” it’s clear that Mr. Wong is asking the same question becauseIt is not just Kung Fu, it is spirit. Keep the light burning.

The Grandmaster is, at its most persuasive, about the triumph of style. When Ip Man slyly asks “What’s your style?” it’s clear that Mr. Wong is asking the same question because here, as in his other films, style isn’t reducible to ravishing surfaces; it’s an expression of meaning. The New York Times… Expand

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9

MarcDoyleAug 27, 2013

It's an absolutely beautiful film beautifully shot, engaging story, and elegant action sequences. Ziyi Zhang is phenomenal in portraying her story of loyalty and commitment. I was enthralled throughout.

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9

ThegodfathersonAug 23, 2013

Unlike martial arts film in the wuxia style, such as "Crouching Tiger, Hidden Dragon," that are typically set in a fantasy pre-modern era, "The Grandmaster" is set against the specific backdrop of the political upheaval in China from theUnlike martial arts film in the wuxia style, such as "Crouching Tiger, Hidden Dragon," that are typically set in a fantasy pre-modern era, "The Grandmaster" is set against the specific backdrop of the political upheaval in China from the 1930s to the 1950s, including the Japanese invasion and civil war. And though Wong said he does not know what his next film will be, he feels satisfied the years of work have come to fruition with "The Grandmaster." "I know I'm not going to make many kung fu films," Wong said. "This may be the only kung fu film I make, I don't know. I want to put everything I know about kung fu films into this film." Wong Kar Wai is known as an international master of moody romance, making films filled with a yearning melancholy. His "In the Mood for Love" was the only film from this century to make the Top 25 of a recent Sight & Sound poll of the greatest films of all time. So news that he was making a kung fu film tracing the life of Ip Man, who would famously go on to train Bruce Lee, caught many of his fans off-guard. Playing now in Los Angeles, the long-awaited film has already been the biggest commercial hit of Wong's career in China, even with its unlikely combination of a rousing martial arts story and a moving tale of romantic longing.… Expand

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