This is the first time I watched a documentary before watching a movie. For Wong Kar Wai's film, there is no such thing as a spoiler,
because in terms of past experience, people's highlights are never stories.
In the documentary "The Road to the Master", the director visited almost all martial arts schools,
some, such as Wing Chun, are famous all over the world; some can still keep a corner of the inheritance; some are already morning exercises in the park;
the most embarrassing , I forgot which name of the sect it was, and there was only a desolate old man like a beggar
who lived in a thatched hut with four walls, and dragged a four-character plaque from under the bed.
Why is there such a world of difference between the same prominent martial arts sects?
I was still standing in front of the poster at the last moment waiting for the movie to enter, and I was so emotional.
As far as the film itself is concerned, the process of watching the film is very enjoyable, just two words, beautiful.
Light, shadow, sound, and color are all lacking; characters and dialogue are all perfect.
The charming and charming "aunts" in the golden building swayed their glamorous skirts and walked all the way, posing a fixed posture;
the pure and stubborn Ziyi, with delicate facial features and forbearance expressions, performed both literary and martial arts. It is very beautiful; it
is covered with gorgeous philosophical aphorisms from beginning to end, martial arts, life, feelings, one by one.
These are the usual highlights, pictures and poetry of Wong Kar Wai's films.
But "The Grand Master" is very different.
First of all, after the death of Gong Er's father, a scene between the elders and Gong Er made me cry.
Whether it is "Chongqing Forest", "In the Mood for Love" or "2046",
I always thought that Wong Kar-wai was good at "making people want to cry", but he would not really disintegrate that emotional critical point.
Maybe it's Zhang Ziyi's acting problem, or maybe it's his character weakness,
but the intense sense of conflict in this scene is indeed contrary to the director's sensational scale.
And yes, this time I got it.
As soon as he walked out of the theater, he was also entangled in the distribution of the roles of the protagonists:
Yixiantian was simply a soy sauce, Gong Er completely overshadowed the proportion of Ip Man, the
emotional line, the historical line, and the patriotic line seemed to make no sense.
Then I flashed back to the moment before I entered the movie theater, and remembered the question I had asked:
"Why are the same sects in martial arts, but there is such a huge difference?"
Suddenly I realized that I already understood.
The rise and fall of a sect does not depend on the strength of martial arts, but on the practice of its descendants.
Gong Ruomei, Yixiantian, and Ye Wen represent the three outcomes of decline, prosperity, and prosperity.
As soon as Gong Ruomei appeared on the stage, Gong Baosen gave her the first lesson with a few words of spirit:
only victory and defeat were in his eyes, and there was no worldly sophistication. One has to look far, and when one crosses a mountain, one's horizons are broadened.
The second lesson was to take her to the Jinlou to see her "retire", which made it clearer: the affairs of the
rivers and lakes have nothing to do with you. To be a good doctor, to be in peace, is to be filial.
In the end, it was the good intentions of "don't ask about favors and hatreds" before dying, but it was a pity that Gong Er didn't listen to her at all.
Without foresight, fulfilling filial piety, pursuing grievances, and ultimately leading to "no one in the palace", the faction was lost.
Some people regard the last dialogue between Gong Ruomei and Ye Wen as an emotional drama. In fact, it is far more than the relationship between a
man and a woman. The dialogue between the two is like a fight against each other.
Gong Ruomei lamented that she might as well go to sing at the beginning, Ye Wen sighed that she had turned around, but
Ruomei was still full of anger, and said that she could only continue like this regardless of whether people cheered or not, and there was no helplessness in her words.
Speaking of this, I opened my heart, and the words accumulated over the years were simply poured out.
She said that she wanted to go back to her hometown was just a pretense, saying that she was tired was the truth, and saying that the sixty-four hands had been forgotten was also an excuse,
but she could not pass on the arts, she was fortunate that she had such a hearty fight with Ye Wen back then.
Is this a life without regrets? On second thought, there was still a bit of anger.
She admitted that she regretted, but she laughed and masturbated to say that it would be boring to say that she had no regrets. These words were just a window paper.
Feelings were also brought up. Originally, I wanted to stop the topic here, but Ip Man mentioned the pain point.
Ip Man gently took the love of his children and talked about the key point of the sect's succession:
if you don't forget, there will be echoes, and there will be people when there is light. .
At this time, Gong Ruomei's tears fell, and she felt ashamed, regretful, painful, and ashamed.
I heard that when the director edited, a lot of the emotional scenes between the two were cut out, but the relationship must not be the most important point.
I saw a lot of comments mentioning that this sentiment is all about "grudges and fate", and I really feel like it's a waste.
In fact, after understanding the clue of Gong Ruomei, Yixiantian is easy to understand.
He once said that accepting bandits as apprentices is to humiliate the teacher, but he still accepts it.
Under the signboard of the barber shop, the apprentice was improvised, and it could only be regarded as a reluctance to continue the incense.
"See yourself, see heaven and earth, see all living beings", only Ip Man has done it,
so only Wing Chun created Bruce Lee.
So far, the context of the film is very clear.
Looking back at Gong Ruomei, the director's perspective is tolerant.
As a woman and a daughter, she sacrificed everything for herself.
Some people say that she lost face. In fact, the director expressed his point of view from the very beginning, "It's all due to the times."
If the above-mentioned scene that made me cry was a "potential" intentionally arranged by Wong Kar-wai, the
elders' words of "unkindness and injustice" and "why are you" are equivalent to directly forcing her into the position of "in" Go on;
if Masan hadn't used Gong Ruomei's "time" to say she was unqualified,
she wouldn't have broken her hair and made an oath not to pass on her art.
"It's better to think about entering, don't stop thinking about it." Ma San and Gong Ruomei both recited this sentence, but unfortunately they were wrong.
As the direct descendants of Baguamen, they all mistakenly regarded their temporary obsession as "entering", and
did not realize that their ideas and mentality were in a state of "stop", and they did not turn back in time.
The pass is to look back, and none of them can pass this pass by themselves.
Ye Wen wanted to help them later, and the gift of buttons was a symbol.
He said, "The sixty-four hands of the Gong family are a mountain, and they shouldn't disappear like this."
Gong Ruomei was still obsessed at that time, and actually retorted, "Why is the Gong family? At that time, she was not
terminally ill, and she believed that "there are still people in the palace family"; in
the end, she returned the button, saying that she was powerless and knew that she was running out of time.
The button seemed to be a heavy trust. There was a glimmer of hope in Gong Baosen, but in the end it didn't come true.
In addition to his high martial arts skills, Ye Wen's extraordinary strength lies in his mind.
The purpose of every sparring and dialogue is not to win or lose at the moment, or to hurt people's lives, but to preach and teach.
Factions, countries, and the world are informal and step-by-step.
"See yourself, see heaven and earth, see all beings", a generation of masters deserves their name.
I remembered that at the end of the documentary, the descendants of various sects said that no one had ever made a martial arts film with such a meaning.
In the expressions of those descendants, there is joy, praise, and a kind of emotion.
Perhaps to say that this film is different from Wong Kar-wai's previous works is because of such a sense of responsibility.
Throughout the whole film, no one is superfluous, and no scene is unreasonable.
"The Grandmaster" has achieved the highest aesthetic level and
is Wong Kar-wai's best work so far, no doubt.
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