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The Grandmaster

Original title: Yi dai zong shi
  • 20132013
  • PGPG
  • 2h 10m
IMDb RATING
6.5/10
34K
YOUR RATING
POPULARITY
6,810
381
The Grandmaster (2013)
A story inspired by the life and times of the legendary kung fu master, Ip Man, and set in the tumultuous Republican era that followed the fall of ChinaÂ’s last dynasty, a time of chaos, division and war that was also the golden age of Chinese martial arts.
Play trailer2:11
3 Videos
99+ Photos
ActionBiographyDrama
The story of martial-arts master Ip Man, the man who trained Bruce Lee.The story of martial-arts master Ip Man, the man who trained Bruce Lee.The story of martial-arts master Ip Man, the man who trained Bruce Lee.
IMDb RATING
6.5/10
34K
YOUR RATING
POPULARITY
6,810
381
  • See more at IMDbPro
    • Director
      • Kar-Wai Wong
    • Writers
      • Kar-Wai Wong(story)
      • Jingzhi Zou(screenplay)
      • Haofeng Xu(screenplay)
    • Stars
      • Tony Chiu-Wai Leung
      • Ziyi Zhang
      • Jin Zhang
    Top credits
    • Director
      • Kar-Wai Wong
    • Writers
      • Kar-Wai Wong(story)
      • Jingzhi Zou(screenplay)
      • Haofeng Xu(screenplay)
    • Stars
      • Tony Chiu-Wai Leung
      • Ziyi Zhang
      • Jin Zhang
  • See production, box office & company info
    • 157User reviews
    • 285Critic reviews
    • 73Metascore
    • Nominated for 2 Oscars
      • 68 wins & 72 nominations total

    Videos3

    Theatrical Trailer
    Trailer 2:11
    Theatrical Trailer
    Teaser Version
    Trailer 1:10
    Teaser Version
    Exclusive Clip
    Clip 0:57
    Exclusive Clip

    Photos671

    Chang Chen in The Grandmaster (2013)
    Tony Chiu-Wai Leung and Ziyi Zhang in The Grandmaster (2013)
    Tony Chiu-Wai Leung in The Grandmaster (2013)
    Ziyi Zhang in The Grandmaster (2013)
    Chang Chen in The Grandmaster (2013)
    Ziyi Zhang in The Grandmaster (2013)
    Tony Chiu-Wai Leung in The Grandmaster (2013)
    Kar-Wai Wong in The Grandmaster (2013)
    Tony Chiu-Wai Leung at an event for The Grandmaster (2013)
    Yann Yann Yeo at an event for The Grandmaster (2013)
    Jane Fonda at an event for The Grandmaster (2013)
    Ziyi Zhang at an event for The Grandmaster (2013)

    Top cast

    Edit
    Tony Chiu-Wai Leung
    Tony Chiu-Wai Leung
    • Ip Man
    • (as Tony Leung)
    Ziyi Zhang
    Ziyi Zhang
    • Gong Er
    Jin Zhang
    Jin Zhang
    • Ma San
    Chang Chen
    Chang Chen
    • Razor
    Cung Le
    Cung Le
    • Iron Shoes
    Qingxiang Wang
    • Master Gong Yutian
    Elvis Tsui
    Elvis Tsui
    • Mr. Hung
    • (as Jinjiang Xu)
    Song Hye-Kyo
    Song Hye-Kyo
    • Zhang Yongcheng
    • (as Hye-kyo Song)
    Kar-Yung Lau
    Kar-Yung Lau
    • Master Yong
    • (as Chia Yung Liu)
    Chau Yee Tsang
    • Shorty
    • (as Chiu Yee Tsang)
    Hoi-Pang Lo
    Hoi-Pang Lo
    • Uncle Deng
    Shun Lau
    Shun Lau
    • Master Rui
    Xiaofei Zhou
    • Sister San
    Mancheng Wang
    • Master Ba
    Ting Yip Ng
    Ting Yip Ng
    • Brother Sau
    Man Keung Cho
    • Cho Man
    Tony Ling
    • Foshan Martial Artist
    Tielong Shang
    • Jiang
    • Director
      • Kar-Wai Wong
    • Writers
      • Kar-Wai Wong(story) (screenplay)
      • Jingzhi Zou(screenplay)
      • Haofeng Xu(screenplay)
    • All cast & crew
    • Production, box office & more at IMDbPro

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      The project was announced almost 10 years before its final release, due to director Kar-Wai Wong's endless perfectionism. Several other motion pictures about the Ip Man that were conceived after this announcement (most famously Ip Man (2008) and Ip Man 2 (2010)) were all released in the meantime.
    • Quotes

      Gong Er: Remember when I told you that there is nothing to regret in life? It's all bullshit. If life had no regrets it would be really boring.

    • Alternate versions
      The original version released in Asia removes a portion of Yi Xintian's subplot. The rain fight sequence between Xintian and Ip Man shown in the trailer, for example, was removed. However, Wong Karwai then recut the movie for a special Berlin Film Festival screening by incorporating the missing scenes back, but editing out several scenes from the original version including a fight sequence between Ip Man and a Hong Kong challenger. Both versions are missing crucial segments that made all three main characters' journey feel incomplete. The actual finished movie was rumored to be 4 hours long. Wong Karwai mentioned he had no intention of releasing the 4 hour version.
    • Connections
      Featured in The Oscars (2014)
    • Soundtracks
      Stabat Mater
      Written by Stefano Lentini

      Performed by The City of Rome Contemporary Music Ensemble

    User reviews157

    Review
    Top review
    The 64 Empty Hand Moves (Red Boat Opera)
    Surely, this is a compromised film. Years in the making, and has one foot in the blockbuster league which means it has to address a wide audience, satisfy investors and make a healthy recoup—in the Chinese market, it did. What both these mean is that Kar Wai had to set up artificial limits to his vision, then swim to real ones, limits he cares to meet as an artist, then see how swiftly he can move back and forth.

    But let's not mince words here. Kar Wai is a cinematic master. And I'm sure I will remember this as one of the most interesting, most wonderful, most visual films of the year come December.

    Right off the bat, you should know that if you want the clean, rousing version of Ip Man you should go to the Donnie Yen films. It's a legend anyhow, most martial arts stories are (especially the Chinese), embellished in the telling. So if you want 'truth', you're looking in the wrong place to begin with. About Ip Man, you should know that the fighting style he is supposed to have originated called wing chun, at least as taught now, takes some old Taoist notions about softness and intuited flow and creates a uselessly complicated and scholastic system of study.

    But the notions are powerful, and this is likely what attracted Kar Wai to a film about him.

    So the artificial limits here are the kung fu movie, a type of narrative deeply embedded in the national character. So we get familiar history as the backdrop, Civil War, Japanese invasion and so forth. The film will be familiarly lush and operatic for the Chinese. It also means we get fights, we do—some marvelous ones. It means we get the heroic portrait—the good vs evil sifus, tied to contrasted history, tied to the passing of tradition. The kungfu plot revolves around preserving the secret 64 moves and avenging the old master's death, usual tropes in this type of film.

    But he sets all this up in order to break it, that's what Ip Man's talk about breaking the cake represents in his standoff with the old master of the northern school, contrasted to his belief that it should be whole—metaphorically referring to a strong, unified China, the same obsession with fabricated harmony that powers both the political and martial arts narratives over there.

    This is what Kar Wai does, he breaks the harmonies.

    Not so much in the fights: Kar Wai plays with them like a master painter fools with paint in commissioned work. He plays with speeds, textures and choreographed impacts but does not radically push the language like he did in Ashes. Ashes really was a radical break in temporal experience, wonderful stuff with many layers. Here, we experience fights cleanly, in a way that will satisfy the broad audience.

    He breaks the heroic narrative: in his worldview, time does not linearly build to the 'big fight', it happens with one third of the film to go and Ip Man is not in it, what should have been a dramatic death happens offscreen, history is glimpsed off the streets, we get flashbacks and forwards, abstraction and long visual poetry. And the 64 moves are never passed on. All that fooling with structure is a way of loosening limits of genre and tradition, inherited limits to vision.

    But what is really worth it here, is watch him swim to meet his own limits—multilayered reflection on memory as living space for the eye.

    In martial arts terms, that means soft, yielding to inner pull, to the hardness of fights, politics and quasi-mythical narrative. It means every hard narrative thrust in the name of tradition, country or lineage, becomes an anchor he uses to submerge me in visual exploration of feelings. In visitation of spaces of desire, flows. Sure, it is not as successful as previous projects, because the fancy fights and exotic settings get in the way, jarring me from a tangible experience. But it's still pretty much the same wonderful swimming, each thrust of the hand creating turbulent patterns in water.

    For instance, the daughter waiting in the train station to avenge the old master is the anchor. But between that first shot and the decisive encounter, we get a wonderful current of images; cooking smoke at night, snow, refracted light through windows, children running. These are not of the story, but snow flakes of remembrance the air drags in. The cut from statues of Buddha to grainy footage of bustling Hong Kong is one of the most thunderous edits I've seen. And the entire last third of the film is purely a Kar Wai film; all about unrequited yearnings, ashes of youth in a gilded box.

    So spliced inside the kung fu comic-book is a sort of Mood for Love where again we had the contrast to 'hard' fabrication in the writer of kung fu stories.

    It is muddled, because you can't have crispness when the whole point is a fluid recall. Tarkovsky is 'muddled'. But it's so lovely overall.

    The coveted moves as the excuse for the man and woman to meet attempting touch, the Taoist pushing and yielding of hands to be close.

    They are empty hand forms, in that there is nothing to be grasped beyond the shared flow. It is all about cultivating sensitivity, listening, placement in space.
    helpful•78
    30
    • chaos-rampant
    • Jun 23, 2013

    Details

    Edit
    • Release date
      • January 8, 2013 (China)
    • Countries of origin
      • Hong Kong
      • China
    • Official sites
      • Official site
      • Official site (Japan)
    • Languages
      • Mandarin
      • Cantonese
      • Japanese
    • Also known as
      • Le grand maître
    • Filming locations
      • Foshan, Guangdong, China
    • Production companies
      • Block 2 Pictures
      • Jet Tone Production
      • Sil-Metropole Organisation
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $38,600,000 (estimated)
    • Gross US & Canada
      • $6,594,959
    • Opening weekend US & Canada
      • $132,617
      • Aug 25, 2013
    • Gross worldwide
      • $73,933,046
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      2 hours 10 minutes
    • Color
      • Color
    • Sound mix
      • Dolby Digital
      • Dolby Atmos
    • Aspect ratio
      • 2.35 : 1

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