Review of The Grandmaster (2013) by Alex W — 19 Jan 2015

Review In A Nutshell:

How did a film that started off so well, fall far down by the time it ends? Wong Kar-Wai's The Grandmaster revolves around the life of the martial-artist master Ip-Man. Right from there, one can easily assume this was going to be an exhaustive biographical study, but when one actually goes through it, it barely shares with you any significant facts about the subject and its dramatic execution lacked any resonating effect. I didn't take anything substantial with me in regards to its story after the film ended. If the film decided to tell its narrative in a more linear and head-on approach, then I think The Grandmaster would have been an effective and memorable film, albeit safe; but since it is under the hands of Wong Kar-Wai, it has to be shown in an art-house approach which can easily alienate its viewers. It worked so well in 2046 because he was handling the concept of love, an idea that is so fundamentally relatable and simple that even passively viewing it, one would still find something to chew on. Also I would like to note that the film seems to draw its attention frequently away from the titular subject, exploring supporting characters and their own personal issues; it wouldn't be too much of an issue if it affected heavily The Grandmaster's own personal story, which it barely does.

In regarding to its visuals, the film is stunning; fabricating the most graceful and hard-hitting of martial-arts cinematography. There is a sense of precision in every cut that is delivered during the battle sequences, emphasising a more fantastical aura rather than conveying something grounded and realistic. I have seen multiple martial-arts film where choreography stretches for long periods of time, creating a graceful style that would no doubt keep the audiences engaged all through it; but The Grandmaster is more concerned with the finer details, the precision of the character's movements, the sense of grace in each attack, the firmness of each defence. Cinematographer, Philippe Le Sourd, consistently keeps the frame tight, like many of Kar-Wai's films; but ensuring that there is still a sense of movement with the camera and its subjects; very rarely does the film display large establishing shots, finding the beauty in microscopic proportions, understanding that the essence of martial arts is found internally rather than the exterior.

In regarding to the performances brought by the cast, they do quite a good job in shaping their roles, creating a wonderful balance between emotion and physicality. Tony Chiu Wai Leung slips into the legendary figure wonderfully, somehow stripping away the sense of distance in the way we see the character, and find something deeper within him and more towards our level.

The Grandmaster could have, should have been a greater film if it handled its historical elements more carefully; allowing more drama to seep into its atmosphere and not be too pretentiously guarded. Thankfully, the film was able to remain mildly entertaining through its exhilarating action sequences and gorgeous photography.