‘Every great age presents a choice…’
While his star has faded a little now, Wong Kar-wai was a big deal at the turn of the millennium following the success of cult classic Chungking Express and critical smash In the Mood for Love. It was the former film that popularised his tendency for step printing, a filming technique that is similar to slow motion and has the effect of almost making the film reel itself jump. The Grandmaster features many of the Hong Kong filmmaker’s calling cards – vivid colours, the use of rain, profound ideas – but it doesn’t always hang together…
The Grandmaster charts the journey of martial arts master Ip Man (Tony Leung) from his rivalry with the north China grandmasters, his experiences during the Japanese occupation of China during WWII and his quiet longing for his ferocious rival Gong Er (Ziyi Zhang).
I should begin by saying there are moments of greatness here. The opening fight sequence, put together by legendary fight choreographer Yuen Woo-ping, draws on his work utilised in The Matrix franchise and somehow makes it even more elegant and beautiful (if a little over the top). Similarly, there is a long sequence that takes place against the backdrop of a neverending train passing through a rustic train station that is genuinely breathtaking.
The problem here is the plotting. It feels like Wong put everything into the look and feel of the film and not enough time on structure, despite the film taking almost five years to complete. The narrative pivot halfway through from Ip Man to Gong Er produces some of the film’s finest moments, but it also jars with everything that has come before. This is a shame because Leung, who relies mostly on knowing glances and a wry smile, is great in the titular role, and Zhang is just as good in a much more wordy performance as his foil.
At its best, The Grandmaster is visually stunning and profound, at its worst, it is frustrating and incoherent. A mixed bag.