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After pulling a robbery, Santiago and his partner are fired upon and the partner dies from his wound. Santiago hires a young land-owner, Maunel Lopez, to take him to town, where he delivers to loot to a fence, Guntz. The latter tries to cheat Santiago and he then takes it all by force. He and Manuel go for a time on the town before returning to Manuel's farm. Manuel, having a taste of the good life, plots to kill Santiago. Manuel's wife, Maria, is shocked and fed up and begs Santiago to leave and take her with him. As they start to leave, the Police and Guntz show up and take Manuel and attempt to make him talk by threatening to hang him. Santiago intervenes and shoots Guntz and is mortally wounded himself, but manages to send Manuel and Maria on their way before he goes off to die alone. Santiago, a jolly modern bandito, has just lost his partner when he happens on the isolated farm of young Manuel and Maria Lopez. Manuel's aid is enlisted in what develops into a violent encounter with Santiago's fence. Exposed to money, the fast life, and Santiago's anarchistic philosophy, Manuel (formerly simple and hardworking) is in serious danger of being corrupted (and Maria is not immune either)... An offbeat western ,with a Christian feeling when Kennedy promises his dying pal pastures of plenty when he gets to Heaven ;the same lines come back in the last sequence after the hero has been shot to death.This could fall in the ménage à trois routine -the peasant,Manuel ,and his lovely wife he treats like a dog-but it's not what you expect.It depicts an enclosed space ,where women are sold ("he bought me" );the outside world is only present in the characters' mind when Santiago tells Maria he can get her away from this place .A low-budget movie ,in which the obvious lack of means is not a problem;it reinforces the feeling of having ended up in a dump. Santiago (Arthur Kennedy) is a good-hearted bandit...if there actually is such a thing. And when he meets up with Manuel and his wife, he leads the very meek Manuel into life on the wild side. While Manuel has always been very righteous, soon he starts to enjoy the idea of wealth and soon his true, violent and selfish side comes out after making this new friendship. But he's not the only one affected by Santiago's arrival...as soon Manuel's wife, Maria, has fallen for this new mystery man! What's to come of all this?

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The story of martial-arts master Ip Man, the man who trained Bruce Lee. Ip Man's peaceful life in Foshan changes after Gong Yutian seeks an heir for his family in Southern China. Ip Man then meets Gong Er who challenges him for the sake of regaining her family's honor. After the Second Sino-Japanese War, Ip Man moves to Hong Kong and struggles to provide for his family. In the mean time, Gong Er chooses the path of vengeance after her father was killed by Ma San. Wong Kar Wai seems inaccessible and self-indulgent to observers who have never liked his films. But motion picture is subjective experience; if you have grown to admire him as a stylist of art house cinema, The Grandmaster will resonate with you.

Themes that permeate earlier works (Days of Being Wild, Happy Together, 2046) continue in this film—against the force of changing times; characters loiter in nostalgia, beholdened by insatiable longing for the past. Only differences here are: recurring themes exist in new historical context, and it moves one step beyond stock sentimentalism. In war torn era; martial arts rivals live and die by codes of honor. some yearn to carve out a piece of legacy that lasts.

By virtue of choreographer Yuen Woo Ping, flashes of stylized fight sequences (in the vein of The Matrix) pervade in this film, thereby satisfying two sets of audiences—those in want of kungfu action and those in search of poetic romanticism. But the latter may benefit more because The Grandmaster strays from traditional narrative. So suspend prior knowledge of all action and kungfu films, or biopics starring Donnie Yen before watching—consider this an acid trip into untold dimensions of Yip Man's private reality.

Time and place is 1900s in the roaring city of Foshan, Southern China. It begins in a flashback recounted by older Yip; a boy is being initiated by martial arts teacher, Chan Wah Shun. Painted in copper hues of browns, reds and swirling smokes; young Yip braces himself for the belt fastened tightly around his gut. It follows that this one knot implies a lifetime that will be led and bound of strings.

Fast forward to spring in the early 1930s. At the age of forty, Yip Man (played by Bogart of Asia, Tony Leung) lives a cozy life with generous inheritance. We are also introduced to elders and fellow practitioners who gather at luxurious brothel, The Golden Pavilion. In the company of painted faces and frivolous vice; men trade weary talk about pugilist philosophies, they ruminate on wars between countries and clans.

To mark his retirement from the martial arts scene; Northern master Gong Yu Tien invites Mr Yip (from the South) to a high profile duel, thus setting in motion Yip's involvement with leading lady Gong Er (played by Zhang Zi Yi and inspired by female legend, Shi Jianqiao) spanning twenty years.

Mr Yip defeats the grandmaster and later; in an attempt to recover her father's reputation, Gong Er challenges him to another contest. She wins. Yet what begins as a duel prompted by pride and defiance alludes to the ambush of complex emotions simmering beneath. There is no withholding on mind meld and sexual tension as both spar by trading blows—fleeting moments are magnified and frozen in time. But this is bad timing for affairs of the heart and they part, content with epistolary friendship as the seasons pass.

In the late 1930s during winter, Mr Yip's promise to visit Gong Er with his family is thwarted by Japanese invasion. As the thick of this film unfolds for both protagonists, we are led down separate narrative paths. Gong Er pursues vengeance against the man who kills her father, while Mr Yip departs for Hong Kong—hoping to earn his keep mentoring martial arts.

We witness the years that chronicle their transformation. This journey ends with the passing of Gong Er and eventually, Mr Yip in 1972.

The Grandmaster is classic Wong Kar Wai with a twist: the pace is gentle, unhurried and the smallest details are being eroticized. While the fates of Gong Er and Mr Yip culminate beautifully in the portraits of solitary longing and regrets surrounding a bygone past; the same cannot be said of supporting character, The Razor (played by Chang Chen). A minor arc built upon this grandmaster of Wudang School's martial arts (Fist of Ba Gua) works against the fluidity of this film as a complete, transcended whole.

Martial arts films about "Ip Man" are almost always full of greatness, glory and heroic victories; The Grandmaster deviates from such simplicity. In one of the richest scenes found in this film; a musical rendition of Ennio Morricone's Deborah's Theme (originally rejected for a film in the 1970s and finally used in Sergio Leone's Once Upon A Time In America) conveys a major source of meaning for me. This stirring kaleidoscope of strife and romance creates characters shrouded in complexity, perhaps even flawed in some ways—restrained by the whims of historical change, alone against the shifting sands of hardship.

It has been said in biography "The Man Only I Knew" that Bruce Lee spoke of him this way: My instructor Professor Yip Man, head of the wing chun school, would come up to me and say, 'Let your mind, the basic reality, do the counter movement without any interfering deliberation. Above all, learn the art of detachment.'

If this was true; then Wong Kar Wai's treatment of the protagonists' lives brings a quality of secluded reticence; in the process he heightens the meaning of legacy with a hint of noble beauty.

cinemainterruptus.wordpress.com "Don't tell me how good your skills are, how brilliant your master is and how profound your school is. Kung fu - two words - one horizontal, one vertical. If you're wrong, you'll be left lying down. If you're right, you're left standing. And only the ones who are standing have the right to talk."

For all intents and purposes, the film began as a biopic of one man – to be more specific, Ip Man, the influential kung-fu master who was instrumental in spreading the Wing Chun style around the world and who was perhaps better known for being Bruce Lee's master. But in the midst of exploring Ip Man's life, Wong must have been suddenly struck by the thought - What exactly makes Ip Man so special? Or even better, why should a movie set in the golden age of martial arts be solely about one grandmaster?

And so, despite Leung's omniscient voice-over, 'The Grandmaster' is in fact not about Ip Man alone. Be warned therefore, if you are expecting a movie focused on Ip Man, because you're likely to be sorely disappointed – as Tony Leung reportedly is – that you're likely to know more about the Man from the Donnie Yen films.

Indeed, the narrative is the film's biggest handicap, though to be fair, it only becomes apparent later on. The first half-hour begins strongly with a rightful focus on Ip, and key highlights include his initiation into martial arts by his master Chen Heshun (Yuen Woo-Ping) and his loving marriage to Zhang Yongcheng (Song Hye-kyo). Ip's first challenge would come with the arrival of Gong Yutian (Wang Qingxiang), a venerable kung fu master from northeastern China looking to consolidate his power in the southeast even as he retires.

After Ip goes on to win the battle of minds with Gong, the latter's daughter Gong Er (Zhang Ziyi) stands up to challenge Ip yet again in a bid to restore her family's reputation. That duel also marks a turning point for the movie, which shifts away from Ip and explores the vendetta that ensues between Gong Er and her father's power-hungry protégé Ma San (Zhang Jin) against the backdrop of the Japanese occupation of China.

Against the better advice of her elders, she forsakes her betrothal to avenge the death of her father at Ma San's hands, which culminates in a thrilling battle set at an old railway station in Hong Kong one New Year's Eve. Where is Ip Man's involvement in all this? Admittedly there is little.

Though Wong does bring Ip back into the picture towards the end of the film, his audience is likely to have grown too emotionally detached from the character. A scene towards the end that portrays supposedly the last time Ip met Gong Er is infused with the director's signature sense of longing and regret as the latter reveals her feelings for the former, but how that bears relevance to what Wong is trying to say about Ip or Gong Er's tumultuous lives is too obscure.

In fact, throughout the film, Wong offers little insight into the person of Ip Man. What might have been a meaningful portrait of his relationship with Yongcheng is lost when the latter is practically forgotten in the second half of the movie. We learn little too of Ip's relocation to Hong Kong, and how he built up his reputable school for Wing Chun. All things considered, a more coherent portrait of Gong Er actually emerges from the movie.

Rather than regard it as a Ip Man biopic therefore you'll be better off seeing it as Wong's philosophical musings on martial artists. Fans of the auteur will recognise these familiar themes from his previous works, but Wong's treatment is still unparalleled in conveying regret, longing, and unspoken desires – whether is it Ip Man and Gong Er's mutual affection for each other, or Gong Er's lament for a life less fully lived.

Le Sourd's visuals are also particularly ravishing in the action sequences, designed with much imagination and flair by veteran choreographer Yuen Woo-Ping. The opening sequence that sees Ip Man take on a whole gang of men along a rain-soaked street is filmed with utmost clarity on the beauty and precision of the moves, with the subsequent duels between Ip Man and Gong Yutian as well as Gong Er equally breathtaking to behold.

Keenly aware of the actors' limitations, Yuen goes for elegance over spectacle. Nonetheless, both Tony Leung and Zhang Ziyi also perform impressively given their lack of a martial arts background, the months of training to get them prepared physically for their respective roles paying off in the grace and confidence by which they execute their moves.

Nonetheless, Zhang easily trounces Leung in the film's dramatic scenes, the former's combination of grit and vulnerability making Gong Er a more compelling figure than Ip Man. The fault of course isn't Leung's alone, as his usual penchant for nuance and understatement unfortunately working against his portrayal in a narrative that pretty much relegates his character's account as a marker of the passage of time.

Of course, narrative was never a strong suite in Wong's films, which typically were mood pieces boosted by his signature artistic flourishes. These trademarks are still very much alive in 'The Grandmaster', which is easily one of the most beautiful kung fu movies ever made. But plot plays a much more important role here than in Wong's other films, since it is ultimately through Ip Man's experiences in life that we come to understand his deeper introspections. This is where Wong's film stumbles, relegating Ip Man to a sideshow instead of placing him front and centre – and given all that hype and expectation of Wong's Ip Man biopic, the cut we see here can only be regarded as a disappointment. All of Wong's undeniable visual flair can't conceal the haphazard nature of the story.

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