What do you think of the film after watching The Grandmaster?

For the consideration of a film, we usually refer to a certain genre system. For a generation of grandmasters, this system is a martial arts genre film. Wong Kar-wai introduced the popular story routine of martial arts hegemony and river lake feud into the film, and was besieged by the mass movie audience. As a representative of anti-genre writers' films, Wong Kar-wai's films have never been bound by any kind of shackles, and all the considerations based on existing experience are futile. Aside from the consideration of narrative logic, "The Master" is a film that can really be called a movie, because it makes this martial arts film of the Republic of China full of cinematic poetry in the determination of the inner massage of the characters, the laying of the environment, the details of the fighting scene and so on, which is called poetic martial arts. In A Generation of Masters, this kind of poetry is first manifested in Wong Kar-wai's abandonment of traditional narrative structure and complete characters' lines, and his transformation from a compact subject narrative to a loose group narrative. During the eight-year preparation process, Wong Kar-wai's initial idea of filming One Man evolved into his ambition of filming A Group of People and A Wulin. This is also the reason why many people feel that the structure is fragmented and the characters have no beginning or end after watching the movie. So some people questioned whether the film was about "a bag of masters" or "a generation of masters". For a movie, this kind of questioning is too craftsman. Who said Wong Kar-wai was making a movie about martial arts or kung fu masters? Master directors often say one thing and do another. As the most outstanding representatives of China's directors, Ang Lee and Wong Kar-wai are two peaks. Crouching Tiger, Hidden Dragon by the former has always been regarded as the benchmark of martial arts films. If you take off the coat of martial arts, Ang Lee actually expresses the consistent theme of his films-"desire", but this desire is covered by the lively fighting on the surface, and the passion of Li Mubai and Yu Jiaolong is buried deep and unknown. Wong Kar-wai also has his own understanding of Wushu. "Kung Fu is Kung Fu, and Kung Fu is time". If we want to highly refine the consistent theme of Wong Kar-wai's films, it should be "time". From this perspective, Ang Lee is a master of desire, while Wong Kar-wai is a philosophical poet. In Wong Kar-wai's movies, time is always open. No matter whether the role is a martial arts expert or a drug Lord policeman, and the theme is costume or fashion, Wong Kar-wai always expresses the "vicissitudes" of life in poetic language based on the current emotional state (Hou Xiaoxian summarizes his films as expressing people's desolation, while Wong Kar-wai thinks his films are "vicissitudes"). The sense of time has always been a thin red line running through Wong Kar-wai's films. Many of his films will make us think about the existence of time. Some movie titles have a sense of time, such as 2046 (1997+50- 1) and in the mood for love ... Most movies will let us pay attention to the passage of time through the emotional state of the characters, such as the understanding of a friend for one minute in The True Story of Teddy Boy, "1April 960/. From now on, we are friends for one minute. This is a fact. You can't change it because it has passed. " ; In "Chongqing Forest", Takeshi Kaneshiro stubbornly buys canned pineapple that expired in May 1 every day, and his original feelings will also expire; An angel in fallen angels never gives up any chance to pass by people, because he realizes that "every day you have a chance to pass by many people, and some of them may become your friends or confidants". During the spring break, He Baorong would say "Let's start over" to Li Yaohui after every depraved life.

Similarly, a generation of masters said that Wulin was false and vicissitudes were true. We would rather believe that Wong Kar-wai once again used a gorgeous kung fu film to tell the truth of being alive: "People live all their lives, some become faces, and some become wives, all of which are the result of the times", "All the encounters in the world are reunions after a long separation", "To say that there is no regret in life is anger ... How boring it is to live without regrets" and "I choose to stay in my own years". Just as we shouldn't ask poets to write poems according to the standards of novels, we don't need to ask Wong Kar-wai to explain the relationship between characters and the story structure. In the released version of 130 minutes, Wong Kar-wai took into account the acceptance habits of modern audiences and adopted the popular chronological style as the time structure, thus avoiding the unfounded existence of characters. However, Wong Kar-wai still hasn't given up his own style. At each time node, different characters present different emotional states. In the next four-hour edition, Wong Kar-wai will enlarge this style. He prefers the structure of chapter-by-chapter novels, and so on. This is the greatest embodiment of modern movies-following psychological logic and life logic. The poetry of A Generation of Masters is not only detached from tradition in narrative, but also inherited Wong Kar-wai's consistent image style detached from reality. In Wong Kar-wai's image world, there is always a little escape, a little extravagance, and a poetic feeling. Although it is a daily life experience thousands of miles away: large close-ups, upgraded shots, beautiful lighting sets, time and movements, and spare no effort to show detailed scenes, his films are full of strong sense of form and style ... In "A Generation of Masters", it is the section of Northeast Railway Station where Gong Er retaliates. The only kung fu contest between Gong Er and Ip Man was handled properly. After a fight in the Golden House, the close-up images of the two men fighting side by side were upgraded, which not only prolonged the time, but also delayed the emotion. This scheduling mode is similar to the scene in Crouching Tiger, Hidden Dragon in which Yu Jiaolong and Li Mubai's bamboo leaves slide across their faces in the bamboo forest. Ang Lee called this scene "madness in love", and Wong Kar-wai also laid the emotional tone of Ip Man and Gong for more than twenty years through this lens-wanting to refuse and welcome, wanting to say. Their feelings, coupled with Wong Kar-wai-style adagio music, seem to pull us into the ambiguous situation of eye contact in In the Mood for Love.