After watching "The Great Master", many people will hold the same view as me: Ip Man is not the Ip Man in my imagination (in the past), but Wong Kar Wai is still that Wong Kar Wai. If you exclude the first "Carmen in Mong Kok" and the previous "Blueberry Night" (probably the worst-rated Wong Kar-wai work), "The Great Master" is Wong Kar-wai's work with the strongest commercial elements. But even so, it seems that the audience will buy Wong Kar Wai's account, which seems not too optimistic. In my opinion, because of the hidden meanings and overtones, it is absolutely necessary to watch "The Great Master" more than twice to fully digest it. The controversy is not terrible. Starting with "A Fei True Story", Wong Kar-wai's films have always been accompanied by controversy, but time will prove everything. When Wong Kar-wai was consumed following the petty bourgeoisie, this was not his best era anymore. Therefore, Yuan Heping's actions were added to "The Great Master", which is familiar to Chinese audiences and loved by foreign audiences. Recalling "Evil East and West Poison", Wong Kar-wai used the action scene as a transition. This time, the action scene of "The Great Master" has become a key selling point, and there are traces to follow. Obviously, the thing that really makes "The Great Master" different is Xu Haofeng's martial arts. Wang Jiawei's nostalgia fits Xu Haofeng's attention to the Republic of China era. He borrowed from Ye Wen to reflect on the lost and forgotten martial arts. But if there were only tough martial arts and only one round of wheel battles in the rain, then Wang Jiawei would not be Wang Jiawei. Therefore, when "The Great Master" revealed the features of romance and literary films, I think that the audiences who are familiar with Wong Kar-wai's works will almost burst into tears. That's right, in the trailer, a battle in the rain with an enemy is the beginning of the movie, which looks more like the sweat medicine that Wong Kar-wai deliberately fed to the audience-the movie in front of it is clearly a star-led gorgeous commercial action blockbuster. Nearly impeccable photographic lighting and the badly filmed rain have become Wong Kar-wai's playthings. Close-ups, short shots, slow shots, and the continuous combination of punches are indeed dazzling. As a result, Wong Kar-wai's feeling came as soon as Ip Wen started to talk about monologues. Although biopics often use this method of filming, Wong Kar-wai is known for his love to talk about monologues. He faces mirrors, walls, and air. All his movie characters He is good at talking to himself, this is a sharp deal, his lines are interesting and his accent is charming. Just like Ye Man's emotions in the four seasons of spring and winter, life is cold and warm. Entering the Golden House, "The Grand Master" immediately became a warm color. The costumes, art, props, and scenery are all exquisite and exquisite. At a glance, you can see that it is Wong Kar Wai's golden signature. Turning the place of romance into a place for masters to play tricks, like a fight between a little-footed woman, and a close-to-body fight like Ye Wen and Gong Er's almost enthusiasm, this is also a new idea . More often, the movie started to remind me of Hou Xiaoxian's "Flowers on the Sea", which led to the closed martial arts world from the indoor play. Even if Song Hye Kyo (playing the wife of Ip Man) was not allowed to speak, saying that she was afraid of hurting others by her export, she suddenly remembered the anecdote about Tony Leung starring in "City of Sadness". If you are afraid that you will not be lip-synched, and you can't find dubbing, then it seems fun to shut up non-local actors. What really disturbed me was the subtitle card. In contemporary movies, once a subtitle card appears, in addition to showing the literary nature of the story and helping the audience understand the character era, it is definitely equated with an art film or a literary film. In films such as "Evil East and West Poison", "In the Mood for Love", "2046" and other films, Wong Kar-wai has used subtitle cards (the most vivid Chinese films with subtitle cards also include "City of Sadness", etc.). The author and director also continued to quote some past Mei Linmao soundtracks, and mix and match them casually, which is still moving. "The Great Master" hardly talked about Ye Wen's personal achievements, did not beat up the Japanese, and did not bring a sum of Bruce Lee. In the absence of a big BOSS, he was fighting a bunch of opponents who weren't opponents, and the fight with Gongji was not a real showdown. The film intercepts several key figures who influenced Ye Wen, and the most important one is Miss Gong Er. Many people say that Zhang Yimou and Li An understand Zhang Ziyi, but from the previous "2046" and this time "The Grand Master", Wang Jiawei seems to be better than that. Zhang Ziyi almost became the key figure in the second half. The limelight overwhelmed the tumbling but deliberately closed Leung To-Wei, especially the close-up of the facial expressions under the camera's long focus, a few standard Wong Kar-wai lines, and a line of tears. Her performance did indeed. It was far beyond the accident. Perhaps at this moment, Miss Gong Er merged with other idiotic men and women in Wang Jiawei's works. They did not leave themselves with a retreat. They lived in the present but blocked their hearts and could only sigh the past. And the climax of an "action movie" is not a sharp fight, but a confession of true love surging under the tide, perhaps, this is Wong Kar-wai's pride. The spatio-temporal clues of the film are not only jumping, but also deliberately disrupted. Wang Jiawei continued to set time issues for the characters in the film. The New Year’s Eve in 1950 brought out the New Year’s Eve ten years ago, and Gongji’s disappearance led to the parting speech of Danan Teahouse. I took several photos to freeze the frame, one is to mark the time, and the other is to watch Ye Wen's life change track. Driven by opium details, "The Grand Master" is like Once Upon a Time in ROC, the past of the Republic of China. Some passages are hallucinations, and some passages are clear and true, back and forth, a dream for decades. For Ye Wen, it was an emotional loss for Ye Wen to miss the Sixty-Four Hand of the Gong Family. For screenwriter Xu Haofeng, it was the absence of the martial arts of the Republic of China. Their shortcomings all point to the past, and then they merge into one. This is the theme of time that runs through most of Wang Jiawei. Whether it was A Fei and Zhou Muyun in the 1960s, He Baorong and Li Yaohui's 97 days, or Zhou Muyun's 2046, these people are always trying to retrieve their memories but can't do anything about it. This is Wong Kar-wai's three-handed axe. Countless people are well aware of Wong Kar-wai's fame stunts, trying to imitate and use plagiarism to run, but they have no choice but to do nothing. Occasionally, there are some people who pay tribute to them. From the perspective of completeness, "The Great Master" still leaves obvious ills. Zhang Zhen's paragraphs have no beginning and no end, just like the appearance of "Another Afei" in "A Fei Zheng Chuan", but it also seems to be accidental. The joint fun of the Northeast Master and Disciples is only a small section, but after reading it, it is always the same as those overly obvious historical events, lacking the space and possibility of aftertaste. However, even so, "The Great Master" is still a remarkable blockbuster production. It's easy for you, but hard for me. Today, when Chinese films are used to speculation, it is really a blessing to have a money-burning lunatic daring to make such an ambitious work. 【Phoenix Nethttp://ent.ifeng.com/movie/special/grandmasters/content-6/detail_2013_01/07/20893139_0.shtml】
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