Ip Man: The Awakening

Back when Hong Kong was a British colony … wait, Hong Kong was a British colony? Of course, it was, but the United Nations refuses to recognize it as a former European colony, because of the CCP’s influence. In fact, the Chinese Communist regime is in gross violation of the 1997 handover agreement (“One China Two Systems” is now as dead as a doornail). If ever Hong Kong needed a hero like Ip Man, it would be now. Instead, the villains in his latest highly fictionalized movie are all British, but at least viewers should be reminded of some awkward HK history when watching Li Xi Jie & Zhang Zhu Lin’s Ip Man: The Awakening, which releases today on DVD and BluRay.

It will be Wing Chun versus Baritsu, the British martial art cobbled together from other styles that apparently impressed Arthur Conan Doyle, because it is mostly know remembered from Sherlock Holmes references. The baristas are in for some hurting.

This time around, Ip Man is freshly arrived in Hong Kong from Foshan. Almost immediately, he befriends Buefeng, a fellow Wing Chun practitioner, but not like Ip Man, obviously. Buefeng advises him to keep his head down and not get involved, but when Ip Man witnesses an English-backed gang of white-slavers abducting women, he naturally rescues them. Inevitably, that leads to conflict with the British boss, Mr. Starke (played by the ever so British Sergio De Ieso).

Frankly, Awakening’s screenplay is a predictable, bare-bones string of cliches, even more so than the last Ip Man movie (Ip Man: Kung Fu Master). At times, it does not even make sense, as when Buefeng feels compelled to drug Ip Man before his big public bout with one of the chief Baritsu henchmen, even though he has already seen his friend thoroughly kick the butt of his partner. Seriously, why would he lose confidence when Ip Man was facing the smaller dude?

Ip Man: Kung Fu Master

His legend continues to grow. Initially, Hong Kong filmmakers started making films about Bruce Lee’s master, as a work-around to appeal to the martial arts super star’s fans, since the Lee family so tightly controlled the rights to his image and name. However, Ip Man films have become an industry unto themselves. This time around, it is Ip’s tenure as a police officer that will get the heroic treatment. However, you are not likely to hear about his membership in the anti-Communist (at that time) KMT. (Why do you think he suddenly had to leave Foshan for Hong Kong?)  Regardless, the Ip legend takes on superhero proportions in Li Liming’s Ip Man: Kung Fu Master, which releases on VOD this Friday.

Ip believes in the law and in China, so he has no patience for the Foshan gang that has aligned itself with the local Imperial-supported, opium-importing Japanese business council. As the film opens, Ip single-handedly faces the entire gang, while San Ye, the leader of the patriotic (but still criminal) Ax Gang settles business with the opposing gang’s leader. Rules are still rules, so Ip still must take the Ax leader into custody. Unfortunately, that leaves him vulnerable to the corrupt cops on the force.

Naturally, his daughter blames Ip for her father’s death, even though the honest cop is secretly protecting her, under the guise of the masked vigilante, “The Black Knight.” To humiliate the local population, the Japanese syndicate sponsors a martial arts competition, with the Imperial Army’s karate champion taking on all comers (flagrantly copying a page from Wilson Ip’s original Ip Man, but whatever). Of course, he only gets one challenger, Ip Man, who will be more than enough.

Li’s Kung Fu Master does not connect on an emotional level the way Donnie Yen’s first three Ip Man films did and it lacks the stylish grandeur of Wong Kar-wai’s The Grandmaster. It is definitely less ambitious in nearly every respect, but what it sets out to do, it does really well. Action director Sun Fei’s fight scenes start of big and over-the-top—and only get more so as the film continues. Dennis To’s Ip is typically outnumbered something like 70 or 80 to 1, but it is never enough. Eventually, you’d think the hapless gang-members would look around and realize: “we’re going to need a couple hundred more guys.”

Ip Man 3: Donnie Yen Returns

Ip Man is like James Bond. Viewers could debate for hours which actor best brought them to life. Wong Kar Wai’s The Grandmaster represents the character’s artistic high-water mark, sort of making it the Ip Man Skyfall, aptly featuring “Little” Tony Leung’s romantic brooding in the Daniel Craig tradition. Anthony Wong was the oldest Master IP, so he must be Roger Moore. Yet, for real fans, nobody fit more comfortably in the role than Donnie Yen, the Connery-like original article. Reportedly, Yen was done with the franchise after his second outing, but never say never. In one of the most eagerly awaited films of the year (even though its only January) Yen once again serves as the Wing Chun standard-bearer in Wilson Yip’s Ip Man 3 (trailer here), which opens this Friday in New York.

Much like the old days in Fushan, Master Ip is the universally respected dean of Hong Kong martial arts instructors. He is a bit older now, but his skills remain undiminished. Yet, his traditional garb and self-effacing modesty are at odds with the increasingly jaded tenor of the times. Gangsters even want to grab the land currently occupied by the school Master Ip’s youngest son attends.

Of course, Ip Man is not going to idly watch as the principle and teachers are bullied by thugs. Initially, Master Ip forges an alliance with Cheung Tin-chi, who is also a highly skilled Wing Chun practitioner. However, the covetous Cheung will become a rival for the title of “Grandmaster.” It is all very inconvenient for Master Ip, especially when his beloved wife Cheung Wing-sing’s health starts to fail.

Donnie Yen is one of the most charismatic movie stars in the world today, but from time to time, he will bail on everything but the action scenes when a film doesn’t come together as he might have hoped. However, Ip Man has always brought out the very best in him and the third time is no exception. In fact, it really is something of a charm.

In some ways, Ip Man 3 is closer to the gritty street level action of the early HK films starring the Master’s most famous disciple, Bruce Lee. Over the course of the film, Master Ip will face off against hundreds of tire iron and lug-wrench wielding ruffians. As fans would hope and expect, Yun Woo-ping’s action choreography is wildly cinematic. Donnie Yen is also still the man when it comes to martial arts beatdowns. Yet, rather strangely, the big showdown everyone is looking forward to comes relatively early, around the end of the second act.

Ultimately, it does not matter, because Yen and Lynn Xiong (Hung) are so darned good together as Master and the ever patient Cheung. Xiong easily gets her most dramatic scenes of the Yip-directed trilogy and she makes the most of it with her scrupulously restrained but achingly dignified performance. Iron Mike Tyson also shows some respectable villain chops as Frank, a mobbed-up land developer with a ridiculous facial tattoo. Right, as if anyone could walk around with something like that on their mug.

Like all franchises that really click, we feel like we have been through a lot with Yen’s Master Ip and his family. As a result, Ip Man 3 might just choke fans up, but in a deeply satisfying way. The action duly delivers, but is its grace that really surprises. Very highly recommended, Ip Man 3 opens this Friday (1/21) in New York, at the IFC Center.

Ip Man—the Final Fight: the Grandmaster’s Golden Years

Ip Man was such a powerful kung fu master, he could actually warp time.  Fans can only assume as much if they wish to rationalize the conflicting timelines of the various Ip Man films released in recent years.  The dates and places might change, but Ip Man remains the grandmaster of grandmasters.  Herman Yau dramatizes his twilight years in Ip Man—the Final Flight, featuring a different Ip, yet one still more or less compatible Wong Kar-wai’s Grandmaster (trailer here), which opens this Friday in New York.

In the 1950’s and 1960’s, Hong Kong’s go-go economy had yet to blast off.  Master Ip earns little more than a subsistence living teaching his Wing Chun style of kung fu to students.  Well known throughout the city, Master Ip could probably do a brisker business were it not for his own self-imposed restrictions.  Kung fu is a way of life for him—not a commodity to be commercialized.

In a way, The Final Flight is a bit Gumpish, casting Master Ip as an observer of two decades of Hong Kong’s growing pains, including the rise of trade unionism and the rampant gangsterism within the Walled City.  However, when it finally gets down to fighting, Final delivers some spectacular street melees.

While produced independently of Wong Kar Wai’s long awaited martial arts spectacle and Wilson Yip’s Ip Man franchise, Anthony Wong is not a bad likeness for both Donnie Yen and “Little” Tony Leung Chiu Wai in their AARP years.  Wong might not look particularly spry, but he is a steely old cat, so it is easy to buy into him as the veteran martial artist.  After all, the genre has a long history of butt-kicking graybeards.

Indeed, Wong’s Zen-like gravitas is perfect for the venerable Ip.  He also develops some appealingly ambiguous chemistry with Zhou Chu Chu, playing a scandalous nightclub singer attracted to his old bad self.  However, the film is overstuffed with Ip’s disciples.  You would think half the city was studying under him. Regardless, Jordan Chan adds real hardboiled heft to the film as Tang Shing, a not completely corrupt copper and former student of Ip’s.  He creates a spinoff-worthy character should the filmmakers wish to further complicate the Ip Man universe.

Yau should satisfy fans with his gritty street action and humanistic portrayal of the Ip family.  In fact, Ip’s son, Ip Chun served as a technical advisor and appears in a small supporting role.  Final Fight is also bolder than its predecessor films depicting Ip’s most famous student, Bruce Lee.  Although never named as such, it is hard to miss the implication when Master Ip meets with a former student turned famous actor, whom the audience only sees from behind, sporting conspicuous sunglasses.

It was the apostolic connection to Bruce Lee that launched the Ip Man filmmaking craze to begin with, but the Master has since taken on a media life of his own. Nicely choreographed with a wistful vibe that sets it apart from the pack, Yau’s latest Ip Man is a worthy addition to the Ip canon.  Recommended for martial arts fans with a strong appreciation of tradition, Ip Man—the Final Fight opens this Friday (9/20) in New York at the Cinema Village.

Wong Kar Wai’s The Grandmaster

Ip Man has become a transcendent hero.  All the films and stories about him are true, even when they contradict each other, because we need his example of heroic humility.  Ip was a master of the southern style of kung fu known as Wing Chun.  Settling in Hong Kong after the Communist takeover, he became the city’s most prominent martial arts teacher.  He often lived a hand-to-mouth existence, but he attained a measure of immortality through his celebrated student, Bruce Lee.  Posterity will not be so kind to the northern school, for classically tragic reasons revealed in The Grandmaster (trailer here), Wong Kar Wai’s eagerly anticipated take on Ip Man, the man and the legend, which opens this Friday in New York.

Born to a life of privilege, Ip Man has become the leading proponent of the Wing Chun school of kung fu.  For Grandmaster Gong Baosen of the northern 64 Hands school, Ip is a fitting sparring partner for his grand retirement tour.  In observance of custom, challenges are made and met with grace.  However, Gong’s intensely loyal daughter Gong Er is determined to take matters further.  When she and Ip spar, it makes a profound impression on them both.  No longer mere rivals, an ambiguous but palpable mutual attraction develops between them.  Ip plans to travel north to see Gong and her 64 Hands style again, but the Japanese invasion rudely intervenes.

The occupation years will be difficult for both non-lovers.  Ip and his wife Zhang Yongcheng will mourn their children who succumb to starvation, while Gong Er watches in horror as Ma San, her father’s last great pupil-turned Japanse collaborator, usurps the 64 Hands.  Years later, Ip Man and Gong Er will meet again in Hong Kong, but their wartime decisions will continue to keep them apart.

Considering how long fans have waited, it is almost impossible for Grandmaster to live up to expectations, but happily it comes pretty close.  Although separate and distinct from the Ip Man franchise distributed by Well Go USA, “Little” Tony Leung Chiu Wai has the perfect look and gravitas for the celebrated master, nicely finding his niche as the experienced leading man Ip Man, in between Donnie Yen’s young, confident Ip and Anthony Wong’s elder statesman Ip.  Pushed and prodded by Wong, Leung arguably does some of his best martial arts work yet, but he also conveys the essence of the acutely disciplined Ip.

As good as Leung is, Ziyi Zhang more or less takes over the picture and that’s totally cool.  She even gets the big pivotal fight scene, which delivers in spades. A haunting and seductive presence, she brings out genuinely Shakespearean dimensions in Gong.

As a martial arts film, Grandmaster offers plenty of show-stopping sequences, clearly and fluidly staged with only a hint of the extreme stylization that marked Wong’s Ashes of Time Redux.  Surprisingly though, the film is as much a lyrical epic of love and yearning.  Indeed, the snowy northern climes and train station settings call to mind Doctor Zhivago more than Enter the Dragon.  Of course, Wong fully understands the power of a passing glance and incidental touch, exquisitely conveying the perverse satisfaction of denial.

The Grandmaster is a very good film that should please genre fans and art house audiences in equal measure.  It is probably the Ziyi Zhang, Tony Leung, and Wong Kar Wai collaboration we have hoped for since 2046. A sensitive but muscular portrait of Bruce Lee’s great master, it is a worthy addition to the Ip Man canon.  Highly recommended, The Grandmaster opens this Friday (8/23) in New York at the Angelika Film Center and the AMC Empire.

NYAFF ’13: Ip Man—the Final Fight

Ip Man was such a powerful kung fu master, he could actually warp time.  Fans can only assume as much if they wish to justify the conflicting timelines of the various Ip Man films released in recent years.  The dates and places might change, but Ip Man remains the grandmaster of masters.  Herman Yau dramatizes his twilight years in Ip Man—the Final Flight (trailer here), which is sure to be a hot ticket tonight at the 2013 New York Asian Film Festival.

In the 1950’s and 1960’s, Hong Kong’s go-go economy had yet to blast off.  Master Ip earns little more than a subsistence living teaching his Wing Chun style of kung fu to students.  Well known throughout the city, Master Ip could probably do a brisker business were it not for his own self-imposed restrictions.  Kung fu is a way of life for him—not a commodity to be commercialized.

In a way, The Final Flight is a bit Gumpish, casting Master Ip as an observer of two decades of Hong Kong’s growing pains, including the rise of trade unionism and rampant gangsterism within the Walled City.  However, when it finally gets down to fighting, Final delivers some spectacular street melees.

While produced independently of Wilson Yip’s Ip Man films, Anthony Wong is not a bad likeness for Donnie Yen in his AARP years.  Wong might not look particularly spry, but he is a steely old cat, so it is easy to buy into him as the veteran martial artist.  After all, the genre has a long history of butt-kicking greybeards.

Indeed, Wong’s Zen-like gravitas is perfect for the venerable Ip.  He also develops some appealingly ambiguous chemistry with Zhou Chu Chu, playing a scandalous nightclub singer attracted to his old bad self.  However, the film is overstuffed with Ip’s disciples.  You would think half the city was studying under him. Regardless, Jordan Chan adds real hardboiled heft to the film as Tang Shing, a not completely corrupt copper and former student of Ip’s.  He creates a spinoff-worthy character should the filmmakers wish to further complicate the Ip Man universe.

Festival special guest Yau should satisfy fans with his gritty street action and humanistic portrayal of the Ip family.  In fact, Ip’s son, Ip Chun served as a technical advisor and appears in a small supporting role.  Final Fight is also bolder than its predecessor films depicting Ip’s most famous student, Bruce Lee.  Although never named as such, it is hard to miss the implication when Master Ip meets with a former student turned famous actor, whom the audience only sees from behind, sporting conspicuous sunglasses.

It was the apostolic connection to Bruce Lee that launched the Ip Man filmmaking craze to begin with, but the Master has since taken on a media life of his own. Nicely choreographed with a wistful vibe that sets it apart from the pack, Yau’s latest Ip Man is a worthy addition to the Ip canon.  Recommended for martial arts fans with a strong appreciation of tradition, Ip Man—the Final Fight screens tonight (6/30) as part of the 2013 New York Asian Film Festival.

The Master Returns: Ip Man 2

Ip Man is a peaceful warrior, but for some reason, people keep making him kick their butts. Not a good idea. After all, the Wing Chun master knows what he is doing. Even if you have not heard of Ip Man, everyone recognizes his most famous disciple: Bruce Lee. Immediately following the events of the previous film, the second chapter of Master Ip’s story finds him in Hong Kong, where he would eventually meet his destined pupil (but that will have to wait for a future film, should the Lee estate ever allow it). First though, he will have to battle the entrenched local martial arts guild as well as some thoroughly ugly Brits in Wilson Yip’s Ip Man 2 (trailer here), with fight scenes directed by the legendary Sammo Hung, which opens this Friday in New York, as it was meant to be seen, uncut and undubbed.

Nobody enjoys sparring more than Master Ip, but he will do his best to avoid actual street brawling. Of course, he could deal with any challenge, but with great power comes great responsibility. Indeed, he is as much attuned to the spiritual aspects of his discipline as its more awe-inspiring physical feats. Having successfully defending the honor of the Fushan martial arts community during the Japanese occupation, Master Ip and his family have relocated to Hong Kong. Times are tough though.

The Master tries to eke out a living teaching Wing Chun to disciples, but the local teachers demand he respect their authority, which includes facing all challengers during an initiation rite. Master Ip hardly breaks a sweat on the first two comers, but then things get serious when Master Hung (played by Master Hung) steps into the ring. However, the rival masters will unite when a British boxer starts disrespecting their art in a series of supposed good will exhibition matches. A sneering monster, The Twister has no regard for tradition or human life. Obviously, Master Ip will have to teach him a good, hard lesson in Wing Chun.

Since his family tightly controls the use of Bruce Lee’s name and image, the HK movie industry green-lit competing Ip Man films as the next best thing to a Lee bio-pic. Yip’s Ip was first out of the gate and sets a high standard for future competitors (including a forthcoming take from art-house auteur Wong Kar-wai). While its period details are first-rate, it is Donnie Yen who really makes the series work as Master Ip. He is able to be charismatic and compelling, while faithfully maintaining the master’s quietly serene demeanor. He can certainly handle a fight scene too. Yet, his Master Ip is not a superman, showing signs of age and human fallibility in the second installment.

Yip’s Ips are essentially HK Rocky movies, with each concluding in a climatic bout against a savage foreigner. However, Lynn Hung is way, way more attractive than Talia Shire as Ip’s wife, Zhang Yong Cheng. Unfortunately, she is not given much to do in 2 besides looking pregnant and concerned. Still, the addition of Sammo Hung really adds gravitas and verve to the proceedings.

Intended as an uplifting crowd-pleaser, Ip Man 2 delivers the goods, in large measure thanks to its winning cast, particularly including Yen and the two Hungs. Produced with a glossy sheen and featuring some very cool fight sequences choreographed martial arts legend Hung, Ip 2 is a worthy sequel in a top flight Asian action franchise. Recommended even beyond fanboy circles, it opens Friday (1/28) in New York at the Village East.

Master Ip Man

The Ip Man biopic has become a genre unto itself within the Hong Kong movie industry. With two filmmaking teams already offering their takes, art-house auteur Wong Kar-wai will soon enter the fray with his own Ip. However, internationally the contest is already more-or-less over. For martial arts enthusiasts, Donnie Yen personifies Ip in Wilson Yip’s Ip Man and its sequel. Why the bumper crop of Ip films? Even the tragically sheltered unfamiliar with Ip will recognize his most famous pupil: Bruce Lee. Though the Lee family tightly controls cinematic use of Lee’s name and likeness, Ip is fair game. Yip and action director Master Sammo Hung show viewers the roots of Lee’s Wing Chun in Ip Man (trailer here), which finally makes it into New York theaters this Friday, uncut and undubbed as it was meant to be seen (unlike the DVD edition currently available).

Based on the Ip films and Bodyguards and Assassins, Yen is arguably the world’s biggest action star at this time. Without him, The Expendables will probably be pretty expendable in certain markets, even with Jet Li and British kickboxer Gary Daniels (completely ignored in the American marketing campaign). Indeed, he is perfectly cast as Ip, effortlessly conveying the Master’s spiritual wisdom, while excelling at the fist-flailing action.

As the film opens, Ip Man is the man. He lives well and has the respect of his sifu peers in Foshan, the martial arts capitol of Southern China. Periodically, he is called upon to defend Foshan’s honor against upstarts looking to make their names. Good luck with that. Tragically, their salad days abruptly end with the Japanese occupation. With the Imperial Army using Foshan martial artists as punching bags, Ip is again called upon to defend the honor of his city and Wing Chun. Naturally, it all builds towards a big showdown with the deadly General Miura.

Though Ip Man is first and foremost a martial arts movie, it has the look of a finely crafted historical period drama. It also boasts a first rate cast, including HK superstar Simon Yam (Election, Tactical Unit) as Ip’s best friend, capitalist Chow Ching-chuen. Beautiful and classy, Chinese model Lynn Hung looks like the Donna Reed of 1930’s Foshan as Ip’s ever patient wife Cheung Wing-sing. While her part is woefully underwritten, she has nice on-screen chemistry with Yen.

Still, the action is the heart of Ip Man, choreographed with verve by Master Hung. Ip’s trademark flurry of reverse punches is all kinds of awesome to behold. Yet, the film always emphasizes Ip’s passion is for sparring not fighting. He is a man of peace who fights only when he must.

Ip Man is a great martial arts film. Dubbing is an abomination though, particularly with Ip’s big name cast, so martial arts fans are advised to see that real cut that set the house on fire when it screened at the New York Asian Film Festival. A very cool film with more substance than causal viewers might expect, Ip Man opens this Friday (10/1) in New York at Cinema Village.

NYAFF ’10: Ip Man 2

Ip Man is a peaceful warrior, but for some reason, people keep making him kick their butts. Not a good idea. After all, the Wing Chun master knows what he is doing. Even if you have not heard of Ip Man, everyone recognizes his most famous disciple: Bruce Lee. Immediately following the events of the previous film, the second chapter of Master Ip’s story finds him in Hong Kong, where he would eventually meet his destined pupil. First though, he will have to battle the entrenched local martial arts guild as well as some thoroughly ugly Brits in Wilson Yip’s Ip Man 2 (trailer here), with fight scenes directed by the legendary Sammo Hung who—hold the phone—will introduce the film in person when it opens the 2010 New York Asian Film Festival this Friday night.

Nobody enjoys sparring more than Master Ip, but he will do his best to avoid actual street brawling. Of course, he could deal with nearly any challenge, but with great power comes great responsibility. Indeed, he is as much attuned to the spiritual aspects of his discipline as its more awe-inspiring physical feats. Having successfully defending the honor of the Fushan martial arts community during the Japanese occupation, Master Ip and his family have relocated to Hong Kong. Times are tough though.

He tries to eke out a living teaching Wing Chun to disciples, but the local masters demand he respect their authority, which includes facing all challengers during an initiation rite. Master Ip hardly breaks a sweat on the first two comers, but then things get serious when Master Hung (played by Master Hung) steps into the ring. However, the rival masters will unite when a British boxer starts disrespecting their art in a series of supposed good will exhibition matches. A sneering monster, The Twister has no regard for tradition or human life. Obviously, Master Ip will have to teach him a good, hard lesson in Wing Chun.

Since his family scrupulously controls the use of Bruce Lee’s name and image, HK cinema green-lit competing Ip Man films as the next best thing to a Lee bio-pic. Yip’s Ip was first out of the gate and sets a high standard for future competitors (including a forthcoming take from art-house auteur Wong Kar-wai). While its period details are first-rate, it is Donnie Yen who really makes the series work as Master Ip. He is able to be charismatic and compelling, while faithfully maintaining the master’s quietly serene demeanor. He can certainly handle a fight scene too. Yet, his Master Ip is not a superman, showing signs of age and human fallibility in the second installment.

Yip’s Ips are essentially HK Rocky movies, each concluding with a climatic bout against a savage foreigner. However, Lynn Hung is way, way more attractive than Talia Shire as Ip’s wife, Zhang Yong Cheng. Unfortunately, she is not given much to do in 2 besides looking pregnant and concerned. Still, the addition of Sammo Hung really adds grit and verve to the proceedings.

Intended as an uplifting crowd-pleaser, Ip Man 2 delivers the goods, in large measure thanks to its winning cast, particularly including Yen and the two Hungs. Produced with a glossy sheen and featuring some very cool fight sequences choreographed by NYAFF’s distinguished guest, the second Ip Man should kick-off the festival on a high note. It screen’s at the Lincoln Center’s Walter Reade Theater, as the NYAFF kicks it uptown style, this Friday (6/25) and Sunday (6/27) nights.