Wong Kar-Wai (director)
The Weinstein Company (studio)
15 (certificate)
108mins (USA edit) (length)
05 December 2015 (released)
01 February 2015
Originally released in China in January 2013, this Martin Scorsese-produced martial arts opus is already well-known to many cinema fans, as much for Wong Kar-Wai’s controversial decision to make substantial cuts for its western release as for its bravura visual style and fight sequences. The version shown feels slightly uneven and incomplete, with the unravelled narrative shifting halfway through from a roll-call of Chinese martial arts disciplines to a broader, historical drama. However, If you were left wondering ‘Wong Kar, why?’ don’t worry, it still delivers.
Despite any apparent faults, the filmmakers have created something fresh and powerful with their combination of grandstanding kung fu and Wong’s arthouse sensibility. Much has been said about the years of work put into this project, and the rigor of lead actor Tony Leung’s training to successfully transform from romantic lead into grandmaster Ip Man - wing chun expert, holder of the torch, sensei to Bruce Lee. On screen he dispatches pithy wisdom, and his opponents, with assurance and a Clark Gable half-smile. Female lead Zhang Ziyi’s physical prowess is already renowned and her character, Gong Er’s operatic past align with the film’s assertion for kung fu to high culture. As you'd expect, her 64 hands technique is graceful, precise and superior.
The fight choreography, by legend Yuen Woo-Ping, is dazzling throughout, from the opening Leone-western showdown to the climactic duel. A key scene is the first meeting of Ip and Gong. Soundtracked by an aria and set in the extreme opulence of a luxury brothel, the ‘fight’ is elevated to a balletic level of brutal/romantic sensuality.
Beyond the fighting and a characteristic Wong Kar-Wai unconsummated romance, the film depicts how martial arts helped to maintain Chinese cultural identity and honour through the Japanese occupation of the 1930s-40s. The director’s apparent perfectionism regarding cultural authenticity is something I’m not qualified to comment on, but its clear that meticulous care has been taken to evoke a coherent and beautiful world. As it stands, this is not close to Wong’s best, but despite the simplification, the film has some magnificent scenes and will whet appetites for the release of the original version.