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2013 - The Grandmaster: Film Review (chinese)
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PostPosted: Tue Jan 08, 2013 4:04 pm    Post subject: 2013 - The Grandmaster: Film Review (chinese) Reply with quote



《一代宗师》反响两极 赞叹骂声势均力敌

2013年01月08日20:57

新浪娱乐

http://ent.sina.com.cn/m/c/2013-01-08/20573830316.shtml

新浪娱乐讯 王家卫耗时8年完成的电影《一代宗师》今天(8日)在全国上映。片方日前曾举行媒体试片场,媒体记者看完影片后的反应两极分化,有称赞的也有失望的,但不少人都表示这至少是王家卫最容易看懂的一部电影。随着影片全面上映,不少网友看完电影后都通过微博发表了自己的感受,同样,喜欢的和不喜欢的各占一方。新浪娱乐今日前往花市百老汇影院做观影调查,随机采访的四位观众中,三位对影片表示了满意,而有一位观众则认为王家卫还是拍情感戏更抓人心,如果以看功夫片的心态看这部电影则稍微失望。

  媒体反应两极 称赞和骂声势均力敌

  片方日前在京举行了《一代宗师》的媒体看片会,对于不少有着王家卫情意结的媒体记者来说,他这部耗时经年的电影,自然让不少人充满期待。而看完影片后,记者对这部影片的看法马上呈现出两极分化的事态,有喜欢的有失望的。有人称赞章子怡[微博]的部分精彩绝伦,足以跃升一代女神,甚或整部电影可改叫为《女宗师》;也有人认为梁朝伟[微博]的戏份太少,前半部分的武侠片氛围与后半部分的情感戏太过分裂,不足以撑起“一代宗师”的故事。

  新浪娱乐现场采访了几位观影后的媒体,一位网站记者表示:“王家卫依旧站在华语电影的巅峰上,尤为难能可贵的是仍保有变革、创新的勇气和锐气。前半部是大众都能看懂的‘宗师手笔’,至于后半部,可看作是王家卫对于传统意义上电影节奏、结构的一次大胆实验和挑战。《泰囧》是漫画,《一代宗师》是水墨画。”,而另一位娱乐编辑则对影片结构大为吐槽,“虽然来之前没有抱任何期待,但这部影片四分五裂,每一个故事都没有说完整。”

  网友评论二比二 差别上天入地

  随着影片今日的全面上映,不少观众第一时间观看了影片并且在微博发表了自己的意见。果不其然,微博上对于该片的评论同样呈现出两极趋势。网友“田再兴”称赞影片制作精良:“很欣慰,我喜欢的王家卫回来了,我喜欢的梁朝伟回来了,感谢王家卫在现时粗制滥造的中国影坛带来了如此精良的作品,推荐!配乐太赞了。”网友“师安”认为影片无论武侠或情感部分都同样出色,“必须说,《一代宗师》的电影化程度之高令人激赏。有看不明白的地方,但并不妨碍在某个不经意的刹那被猝然打动!有人喜欢前半段的武林众生相,有人沉浸后半段的欲说还休。要我看它是心灵史诗,尽管每个人物段休止处的黑白定格仍然带出足够唏嘘的历史厚重。说来道去,宗师和爱情一样可遇不可求。”

  另一边厢,也有网友吐槽影片的后半部分过于沉闷,网友“白求摁”说道:“开播之后1个小时,会不断有人上厕所,1个半小时的时候,该睡的都睡了,该走的也走了!”而这些两极的反应让一些想去看片的观众好不纳闷,网友“沙欤”叹道:“目前看到有关《一代宗师》的评论,四个我平时认为比较靠谱的微博打成二比二,说好的好上天,说差的差入地。晚上这是看啊,还是不看啊?”

  观众表示能看懂 总体评价有赞有弹

  新浪娱乐今天走访了花市百老汇影院,并现场随机采访了观影后的观众。四位观众中,三位对影片表示了满意,而有一位观众则认为王家卫还是拍情感戏更抓人心,如果以看功夫片的心态看这部电影则稍微失望。

  A观众认为影片武打成分虽然不如《十二生肖》那么多,但突出的是观念上的东西,“总体来说还是不错,还是有一贯王家卫的风格。电影的镜头、剪辑明显有王家卫的风格,也可以看到王家卫八年的沉淀在里面。演员都挺出彩的。但跟我想象中的武侠片不一样,这里面的武打成分不像《十二生肖》这么多,它突出的是观念上的东西。”

  B观众称赞影片既有文艺范儿,也能看懂,“这是把功夫片拍成了文艺片,王家卫这次好像比较偏观众一点,没有这么难懂,是王家卫作品里比较喜欢的一部,可以看懂,也有文艺范。”

  C观众大赞戏份极少的宋慧乔演技出色,“电影很好,之前也看过王家卫的作品。这次我对宋慧乔的表演印象最深刻,戏份少,更看演技。王家卫让你会记住很多东西,例如咏春拳啊。符合期待,没问题。”

  D观众则表示对功夫部分不满意,认为王家卫还是拍情感戏比较抓人心,“王家卫还是比较适合拍情感戏。影片前半段是说争夺武林盟主,相对甄子丹[微博]演的《叶问》,比较写意一点,故事性不是那么强。后半段是章子怡在香港的感情戏,回归了王家卫的风格,还是比较走心一点,章子怡演的也很好。我觉得对于动作类型来说不算太成功,动作还可以了,他想拍动作片的话,跟美国电影没得比,但他在后半段子感情上做文章,更能得到观众认同。我觉得前半段是加强了的《东邪西毒》,后半段是功夫版的《花样年华》。”(覃覃/文 辛军/视频)


Last edited by Sandy on Wed Jan 30, 2013 12:32 am; edited 3 times in total
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PostPosted: Tue Jan 08, 2013 10:17 pm    Post subject: Reply with quote

《一代宗师》影评:逝去的武林,逝去的民国

[导读]《一代宗师》其实是一部《民国往事》。有人说影片里太多心灵鸡汤,但或许民国时候的武术家,谈吐就是这样子斯文,就是这样子有力道。只是我们多年后变粗俗了而已,却反过头去觉得别人不讲人话。

文/曾剑


《一代宗师》其实就是一部《民国往事》。
《一代宗师》里最重要的角色不是叶问,不是宫二,而是民国。
在以往的王家卫作品中,他是懒得去拍夫妇的,然而,在《一代宗师》中,叶问与他夫人张永成的感情却拍得很特别。无论是张永成为叶问擦身,还是叶问带她去堂子看戏,夫妇之间都一派端庄,从来都没有狎昵的影子。这让人想起胡兰成的《今生今世》中胡所描述的民国中种种感情。这些都让人看到了夫妇之间的法相庄严,不禁感慨尘世当中夫妇之间可以好到这种地步。
至少在叶问40岁之前,人与人之间的关系都是如此,个个都庄重,用情深又含而不露。在那个时候,堂子不是风流场所,而是英雄地。堂子里的姑娘,也个个仪态端庄,没有一丝下流味。风尘之中不是下九流,却不乏性情中人。金楼比武的一段,三位前辈为叶问指路这一段,将南方武林中人人的豪放与血气表现出来了。宫羽田用自己作为台阶,换来新人的上位,也是同样如此。
民国的好是一种已经失传的好,王家卫在《一代宗师》的首映式上也提及过,他拍这部电影就是为了展现中国人曾经那么美过。

这也是为什么王家卫会在《一代宗师》中拍那么多照片的缘故,叶问生孩子,拍合影。叶问与宫羽田较量,拍合影。这样拍了四五次合影后,到了最后,叶问脱下长袍,换上西服,很不习惯的拍了一张大头照。王家卫其实是试图通过照片留住那一份美好的时光。


《一代宗师》是一群被大时代所淘汰了的人的挽歌。
《一代宗师》里有一个贯穿始终的人物,他就是为章子怡赶车的老姜。老姜以前是刽子手,民国之后这一行当就没了,如果不是当家的收留了他,他现在还在城南收拾猪下水呢。老姜就是这一代宗师的缩影。正因为王家卫在老姜这个人物身上有很多想法,所以才会在这部极精简的电影中,让老姜絮絮叨叨说了那么久。
在大时代的变幻下,刽子手这个职业未能与之俱进,被淘汰掉了,枪取代了刽子手的大刀。而叶问,宫二,一线天,等等,这些武术家何尝又不是如此呢?枪同样取代了拳脚功夫,新时代下,一代宗师似乎成为了一群废物。一线天开理发店,宫二开诊所,叶问开武馆,都和老姜在城南收拾猪下水区别不大。他们怎么也不可能回到那个宗师的时代了。
看到时代对这群宗师的紧逼,就不难理解,为什么宫羽田那么着急,想要炉子里出一根新柴。也不难理解,为什么宫羽田那么着急,要破除门户之见,让北拳南传,后来还想让南拳北传。
只是,即便如叶问,如李小龙,把武术传到了整个世界,“念念之下”,整个世界都是一遍“回响”,大时代的更替,民国种种美好的逝去,人已经无力回天了。


《一代宗师》看上去还可以是一部爱情电影。
“叶底藏花一度,梦里踏雪几回”和“一约既订,万山无阻”自有山盟海誓的味道,而“扣子”与“头发”则是自己给自己留下一个定情之物。宫二对着佛壁的自言自语,与《花样年华》中主人公对着树洞的喃喃自语有相似之处,叶问当掉衣服后手心紧扣扣子回去的镜头也很王家卫。
然而,叶问当时打算北上,并不完全是为了爱情。宫羽田的梦想就是破除门户之见,让武术在全国之间流通,以此来适应变幻的大时代。他隐退的目的就是为了找一位新人出头,来代替他完成这个目的。他曾经说过,他还想做一件事,南拳北传,可惜年纪大了。
叶问出头以后,“南拳北传”的重任自然落到了他头上。叶问的“梦里踏雪”,不止是爱情,同样也有“南拳北传”的经世目的,也有再见证“叶底藏花”的意愿。有爱情,也有友情,也有与知己的惺惺相惜,也有铁肩担重任。



《一代宗师》是一部特别的电影。
不喜欢它的人自然可以挑出许多毛病,比如,把张震(微博)与小沈阳(微博)的戏份完全删掉也不影响整部电影,比如,里面的格言锦句太多,将电影塞得太满,不少人觉得这部电影不说人话。
然而,对于喜欢它的人来说,这些毛病似乎都不是问题。格言锦句太多,或许是因为民国时候的人,尤其是民国时候的武术家,谈吐就是这样子斯文,就是这样子有力道。只是我们自己这么多年以后变得粗俗了而已,却反过头去就觉得别人不讲人话。而不顾戏剧结构硬塞进张震与小沈阳,这也不是件要命的事情,王家卫之前的电影,结构更是乱得一塌糊涂。
《一代宗师》是一部需要细细品味的电影,它绝不直白。比如说,叶问(梁朝伟饰)带张永成(宋慧乔饰)去看戏,金楼的姑娘轻蔑的瞥了张永成一眼,似乎在质疑这位“良家妇女”跑到堂子里来做什么。张永成脸上微露不安,叶问与她心心相通,于是轻轻握住张永成的手,人却依然在专注的看戏,张永成马上从紧张中解脱了,挺直腰杆,安详自在又得意。这么复杂的心理变化,看电影的时候如果不仔细,很容易就让它溜过去了。
再比如叶问与宫羽田初次见面的时候,配乐宛如“黄钟大吕”,似乎真气布满四周,隐隐共鸣的样子,好得不得了。而当叶问与宫羽田的大师兄,也就是关东之鬼(赵本山饰)在香港见面的时候,同样的配乐再次响起。这样的配乐暗示,真正的高手见面也就这两次。
而叶问与宫二(章子怡饰)见面的处理也算得上是这部电影最好的镜头之一,叶问与宫二坐在桌子旁,旁边都是金楼的姑娘们,姿态万千,整个画面如同一张油画,再加上背景是意大利歌剧,你只能用“美不胜收”来形容这个镜头了。更重要的是,这样的处理方式又非常灵气的表达了,两人第一次见面,但心中已经翻江倒海的心理过程。至于之后的比武,那不过就是一场调情而已。


《一代宗师》中借用了徐浩峰书里的一句话:“刀的真意在藏,不在杀。”
同样,《一代宗师》的真意也不在那些美轮美奂的打戏上面,也不在看似缠绵悱恻荡气回肠的爱情上面,它的真意,可能在叶问看着下雨的街道默默的抽烟,可能在宫二在大佛间下跪的一瞬间,可能在宫羽田莫名奇妙被马三杀掉,也可能在“每一次相遇都是久别重逢”这句台词上。
只是不妨,不要那么快的下结论,它是一部多好,或者多么糟糕的电影。时间还早,何不慢慢品味。

Source: http://ent.qq.com/a/20130109/000067.htm
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PostPosted: Wed Jan 09, 2013 7:25 am    Post subject: Reply with quote

http://www.wongkarwai.net/
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PostPosted: Wed Jan 09, 2013 8:45 am    Post subject: Reply with quote

I actually read as little of the review as possible! Lol!

http://twitchfilm.com/2013/01/review-the-grandmaster-ip-man.html

Review: THE GRANDMASTER Brings Class to the Ip Man Legend
James Marsh, Asian Editor

Wong Kar Wai, Hong Kong Cinema's most prestigious auteur, finally delivers his long-gestating biopic of Wing Chun pioneer Ip Man, and it proves an action-packed visual feast. Light on narrative, but oozing Wong's trademark elegance, the film weaves the director's familiar themes of love, loss and the corrosive nature of time around some of the most gorgeous martial arts sequences ever filmed.

The Grandmaster has been a project so long in the works that for some it may qualify as the most-anticipated film of the new Millennium. It was way back in 2002 that Wong Kar Wai and leading man Tony Leung Chiu Wai called a press conference to declare their intentions. It was more than 18 months ago that the first teaser trailer for the film was released, featuring - as it transpires - footage from the film's opening scene: a rain-soaked street fight between a trilby-sporting Leung and a dozen faceless assailants. As recently as last month, the film's release date was pushed back (again) from 18 December to early January and Wong was still putting the final touches to the film mere hours before its world premiere in Beijing on 6 January.

The story begins in Foshan province, where at the age of 40, Ip Man (Tony Leung) is happily married to a beautiful, doting wife (Korean actress Song Hye-kyo), lives off a healthy inheritance, and has continued the family legacy of advocating Wing Chun, a simplified yet remarkably effective form of kung-fu. At the Golden Pavilion, a local brothel patronised by many of the region's finest martial artists, North-eastern Grandmaster Gong (Wang Qingxiang) challenges the best Southerner to a fight, before he returns North. After seeing off his rivals from the other local martial arts schools, Ip Man comes forward, only to demonstrate that intelligence and restraint can prove as powerful weapons as kung fu. Ip insists that Northern and Southern martial arts can co-exist peacefully, and Gong leaves humbled, yet satisfied.

Master Gong's daughter, Gong Er (Zhang Ziyi) is less satisfied, however, and returns to challenge Ip Man herself. During their fight, they share the briefest moment of attraction, awakening a forbidden yearning within them both. Gong Er returns home, only to discover that her father's best student, Ma Shan (Cheung Chi Lam), refuses to accept his master's defeat, and kills him. Gong's dying wish is that the two reconcile and marry, as the last remaining practitioners of Gong's revered 64 Hands technique. However, Gong Er vows to have her revenge.

While it may sound like The Grandmaster features a lot of plot for a Wong Kar Wai film, this really isn't the case. The film spans many years, including the Japanese occupation and Sino-Japanese War, but in a refreshing break from recent Chinese cinematic trends, the conflict goes largely ignored. As with all Wong's films, the characters are the primary focus, and how they struggle to interact through the veneer of society, honour, and their own self-imposed need to starve themselves of happiness.

There is clearly a much longer film here. Reports abound that until very recently, Wong had a four-hour cut of the film, while the version that goes on general release in Hong Kong and China this week clocks in at about 130 minutes. Perhaps the biggest victim of this drastic re-editing is Chang Chen. Given third billing, as well as his own character poster, his character probably only manages about ten minutes of screen time and only appears in three scenes. Zhao Benshan's worldly-wise father figure gets even less screen time to the extent his role in the film proves almost entirely pointless.

Chang's character, known only as "The Razor", is first seen on a train, fleeing from the Chinese army. Bleeding, and brandishing a cutthroat razor blade, Gong Er sees him and instinctively shields him from the search party. This moment teases at a possible romance between the two youngsters, not to mention reunites Zhang and Chang onscreen for the first time since Ang Lee's Crouching Tiger, Hidden Dragon. We anticipate their next encounter, and how it could complicate Gong Er's relationship with Ip Man, but even after both characters make the move to Hong Kong, The Razor never meets any of the principals again.

Many of the recurring themes that Wong allows to permeate his work resurface in The Grandmaster. Characters have fleeting encounters that are never built upon, but which continue to haunt them for years afterwards. Time proves once again to be everyone's greatest enemy, not only causing people to grow old, but also to forget the things they held most dear - and in this film particularly, the idea that age makes them weak, and less able to defend themselves plagues them relentlessly. Because, of course, for all its melancholy musing and forlorn contemplation, this is a film about martial artists and The Grandmaster is one hell of a beautiful kung fu movie.

Action choreographer Yuen Woo Ping repeatedly dazzles us with his intensity and imagination, staging a number of standout fight sequences throughout the film that are captured exquisitely by Philippe Le Sourd's ravishing cinematography. Screen legends like Bruce Leung Siu Lung and Cung Le push Tony Leung to the limits of his newfound prowess, while Zhang Ziyi and Cheung Chi Lam are also thoroughly convincing fighters on screen. But the staging of the action in The Grandmaster is a far cry from the kung fu in Wong's last martial arts venture, 1994's Ashes of Time. That film instilled a magical quality into its action, coupled with that blurry slo-mo camerawork Chris Doyle favoured at the time. In The Grandmaster, we see everything, and the fights themselves are shot almost as elegant courtships, dictated by ritual, ceremony and mutual respect, or when Zhang's character is involved, a breathless sensuality that only heightens the tension between opponents. Frankie Chan's gorgeous score is another highlight, complemented by an array of songs and classical pieces ranging from 1950s Canto-pop ballads to Ennio Morricone's theme from Once Upon A Time in America - a film that is evoked on numerous occasions throughout.

While admittedly Wong Kar Wai hasn't set himself a very difficult target, it seems extremely likely that The Grandmaster will prove to be the most financially successful film of his career. The anticipation alone should ensure enough tickets are pre-sold to take him most of the way, but the fact that the film is actually really good to boot should help see it do healthy box office both here and overseas. That said, audiences primed by the Donnie Yen/Wilson Yip collaborations who approach this film looking for another dose of nationalistic breast-beating and old-school chop socky action stand a good chance of leaving disappointed.

The Grandmaster remains first and foremost a Wong Kar Wai film, employing a very slow, deliberate pace throughout and dedicates long periods of time to watching its characters ponder the great mysteries of life, or more often, wallow in their own regrets and missed opportunities. But this is interspersed by some truly fantastic action, which should delight kung fu fans and arthouse cinephiles alike. In The Grandmaster, Wong Kar Wai has crafted the best-looking martial arts film since Zhang Yimou's Hero, and the most successful marriage of kung fu and classic romance since Crouching Tiger, Hidden Dragon, and is more than deserving of that film's measure of international success.
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Info



Joined: 27 Jan 2003
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PostPosted: Wed Jan 09, 2013 6:01 pm    Post subject: Reply with quote

《一代宗師》詩情畫意的功夫片

【明報專訊】一年又一年,三年又三年,大家等到頸都長了,《一代宗師》終於公映,正如白居易《琵琶行》的名句,真是「千呼萬喚始出來」!「百慢大導」王家衛拍攝此片更成為「慢王之王」。成績怎樣呢?我的觀感是並非完整妥善,但不會令人失望。雖然葉問功夫片已被別人遲來先上岸搶拍了幾部,好在王家衛保持獨特風格,「輕攏慢撚抹復挑」,成為慢工出細貨的可觀之作。

南北高手配南音北曲

這是王家衛首部功夫片,明星卡士強,連場比武,又有曲折情仇和亂世離合,加上王派纏綿映像及懷舊樂曲,雅俗元素俱備。儘管難免頗多MV式賣弄,但無疑拍成一部富於電影感和文藝情調的功夫片。還有一個特色,就是南北合璧,從華南華北武林交手,引發天南地北的迷離情緣,配以南音北曲,以及戰時日式華曲如《何日君再來》,還有王家衛愛用的拉丁歌曲和拼盤配樂,聲色豐富多采。

前半精巧 後半戲劇性強

劇情說佛山富家子葉問(梁朝偉飾)是南派詠春武學奇才,與東北八卦拳宮家父女結上20年滄桑奇緣。此片的武打處理(劉家良和袁和平都參與指導),妙在簡直是《琵琶行》的功夫版,一開始雨中淋漓劇戰便有「大絃嘈嘈如急雨」、「大珠小珠落玉盤」的詩情畫意,其他決鬥則如「銀瓶乍破水漿迸」,日軍侵華更是「鐵騎突出刀槍鳴」。

梁朝偉章子怡比武精彩

最巧妙是葉問與宮家老掌門(王慶祥飾)文鬥,手中一餅決勝,高手較量不同凡響。然後宮家女兒(章子怡飾)和葉問比武就正式拳腳精彩,在樓台像鳳凰飛舞而導致「未成曲調先有情」、「小絃切切如私語」的愛意,變成出色的愛情舞蹈。

照例愈拍愈節外生枝

今次王家衛拍出中年成熟氣派,至少前半部精巧細緻,允文允武。中段之後爆發家破人亡的中日慘痛大戰,戲劇性更強。但此片不像葉偉信導演、甄子丹主演的《葉問》炮製中日擂台血鬥。後半部側重宮家女兒為報父仇,在冰雪東北與師兄(張晉飾)展開生死戰。亦拍到1950年葉問來港,教拳謀生,多年後與宮家女兒重逢,但沒有交代他們為何和怎樣移居香港。其實葉問曾任職民國軍警,中共建政後他隻身來港,大概有政治因素,然而香港與內地合拍每部葉問片必須迴避不提,這一部也不例外。

因此《一代宗師》雖有國仇家恨,主體實為武林情緣,自由發揮遠遠多過真人實事。而且王家衛照例愈拍愈節外生枝,難以收拾。片中男女主角的來龍去脈固然似明不明,張震飾演另一武林高手一線天,似與女主角有緣,後來亦到香港開設上海理髮店,更不清不楚。

王家衛的《琵琶行》

整體未成佳構,但佳句紛陳。梁朝偉台型十足,宋慧喬演佛山髮妻張永成純良嬌美,王慶祥老路縱橫。最有吸引力是章子怡,演武林女傑冷艷奪目,後來流落香港則哀愁淒楚,頗有「絃絃掩抑聲聲思,似訴平生不得志。低眉信手續續彈,說盡心中無限事」的情韻。絃歌結合功夫,此片就是王家衛的《琵琶行》。

(石琪說戲)
文章日期:2013年1月10日


Last edited by Info on Thu Jan 10, 2013 5:51 pm; edited 1 time in total
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mary



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PostPosted: Thu Jan 10, 2013 11:56 am    Post subject: Reply with quote

To Sandy, Info, Helga and Jamaica Thank You for sharing.

Best wishes...Mary
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PostPosted: Thu Jan 10, 2013 5:50 pm    Post subject: Reply with quote

歷史的壁畫 《一代宗師》

水,是輕柔的,也能水滴石穿。雪,是白色的,染血份外紅。《一代宗師》有幾場滂沱大雨的水戰,王家衛擺明在力之外要美,那些慢鏡頭,差點以為這部不是他的作品,是吳宇森的。別弄錯,這是一部百分百王家衛的電影。

本片的敍事觀點頗奇怪,關於葉問的片段,由葉問的角色自己來旁白,而不是他的事則由導演來作一個全知觀點的陳述。但兩者都有個共通點:便是大部份都是陳述句,好像非常客觀地製造一段中國的歷史。感情和打鬥的事,留給影像。

無法道盡人間愛

這是一張又一張華麗的壁畫,光影的結合仍然是王家衛主要的電影手法。當年法國曾有短暫的所謂巴洛克電影時期,法國人或者歐洲人都玩不好,只有王家衛玩到今時今日仍然首屈一指無敵手。《一代宗師》教觀眾見識動作電影可以拍得如此美艷,如此悽然,如此華麗。

還有一樣王家衛最拿手的東西在片內也表現出色:兩個之間的因緣/恩怨。梁朝偉和章子怡的感情,寫得深刻,無奈,感人,卻其實很玄,看清楚總是找不到內容。最低限度我們不知道梁朝偉怎麼想,是深愛?是埋在心中的緣份?當章子怡向他表白時,梁朝偉這個角色就像木頭,含蓄得近乎禁慾。他當然是有心的,他是準備北上的,可惜日本軍打到來,他沒能北上見章子怡,只餘下準備北上穿的大衣一粒鈕釦,算是扣着這段緣份。一粒鈕釦太簡單了,無法道盡人間情愛,於是這兩個有緣無份的人,莫名其妙便無法一起走完最後的路。正是:認識半輩子,你不了解我,我不明白你。這是緣份嗎?

捕捉最漂亮剎那

電影還有幾個拍照的場面,不是拍甚麼藝術照,而是一段又一段的合照,每一次幾個主要人物正面而工整地面對鏡頭,鏡頭便由彩色變為黑白,似乎王家衛要我們看一本歷史的相片圖集,也似乎是在製造一個他的歷史。正如他對緣份的陳述是過於簡單,對歷史,他又只是讓一張又一張彩色變黑白,將過去的繽紛變成照片,變成過去的歷史陳迹。看清楚一點,除了是一張又一張的照片外,其實我們根本看不到真正的歷史。一切都是浮光掠影!
浮光掠影便是王家衛的才華,永遠在捕捉最漂亮剎那,將剎那變成永恒。我們就這樣給迷醉在他的浮光掠影裏,跟着他看歷史的壁畫,讚嘆這些畫繪得精美,想象過去的人的生活和感情。觀眾全部只是遊客,在王家衛的旅程中看花花世界。

由佛像看到無常

這是絕對令我驚為天人的電影,因為它讓我明白王家衛的風格怎樣放在葉問的,說過無數次的老套故事,而仍然發出本來的光芒。不只影像,你還看到美術指導的功力,還聽到音效的神奇,還看到精密的電影剪接,美得無話可說。
王家衛的電影永遠有一條副線,跟主線完全沒有關係,只是一個走過的路人帶來另一個人生。張震這個角色只有在火車上跟章子怡交集過,其後他所做的一切都跟主角無關。這就是人生的緣份,張震和梁朝偉都到了香港,都拍了一張跟同伴們的合照,在同一天空下,卻各行其事。我們也許在最後的連串佛像影像下看到了無常,看到了因緣。卻也看到了由佛所生成的執着。章子怡斷髮復仇,就是一種執着,對家庭和感情的執着令她看不到眾生。梁朝偉的葉問呢?他看到眾生了嗎?這樣疏離的人,這樣好像所有事都在壓抑中的人,可以看到眾生嗎?

王家衛的電影,華麗便是一切,對我來說這是一部非常好的電影,因為那份華麗和功夫的結合,竟然如此完美。

撰文:仰止

Source: http://hk.apple.nextmedia.com/entertainment/art/20130111/18129766
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PostPosted: Thu Jan 10, 2013 6:43 pm    Post subject: 《一代宗師 Reply with quote

《一代宗師》亦武亦文
10/01/2013
登徒

對王家衛,我是抱着超高期望的,這夜確是滿足而歸。王家衛向文藝和動作片界綫挑戰,一齣戲,講武學,論人生;知四季,話南北,分新舊,底子滿滿的,都說盡了。
今趟雖以武會友,說的又是詠春葉問,王家衛畢竟非俗品,拳來腳往裏,埋藏了上世紀初顛簸滄桑,哀思隱隱,文學味濃。最終回到原點,那就是錯配緣份,對的人,錯誤的時間。
袁和平燦爛短打和場面設計,精緻之極的攝影和剪接,場場匠心獨運。最絕是葉問宮羽田搶餅,只鬥想法;宮二跟馬三在車站生死鬥,悲憤激烈;葉問宮二過招倒旋,燃盡半生情絲。
梁朝偉打得有板有眼,斷手都抵。當然,梁式腔口的獨白和觀點才是主菜;章子怡確是葉底藏花,是全片亮點。兩人一進一停,一南一北,構成全片主題。
王家衛此趟「嚟真」要重返中原了,內地暫時回響不俗,香港人對亦武亦文,憂鬱而風流的葉問,究竟會否受落呢?

Source: http://www.skypost.hk/column/%E7%99%BB%E5%BE%92/007002001011/%E3%80%8A%E4%B8%80%E4%BB%A3%E5%AE%97%E5%B8%AB%E3%80%8B%E4%BA%A6%E6%AD%A6%E4%BA%A6%E6%96%87/67424
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PostPosted: Thu Jan 10, 2013 7:52 pm    Post subject: Reply with quote

《一代宗師》多年不見,別來無恙

有些電影,應該等,也絕對值得等待。王家衛構思多年,然後籌備五年,拍攝三年,十多年後終於面世的《一代宗師》(The Grandmaster),就是這樣一部慢工出細貨、絕對要進場細心欣賞的武術新經典。更厲害的是,這作品根本不怕觀眾及影評人貨比貨,武打跟劇情水準之高,視野與心態的深與廣,把其他葉問電影都一一比下去。

文:熊秉文 (jonathan@indblue.com)

《一代宗師》的魔力強勁,國內於本周二開畫,一眾香港傳媒朋友自行組隊到深圳觀賞國語版本(香港公映版本保留梁朝偉的粵語原聲),然後爭先在報章上披露情節,甚麼「五大必看位」、「最甚麼甚麼場面」等,劇透得不可開交。假若你打算觀賞這電影,奉勸你小心,免得未進場就踏上無數地雷,令觀嘗時驚喜大減。

高手雲集的武術時代
 筆者有幸於周二晚上的首映禮先睹為快,130分鐘的影片充滿了驚喜,當中的人情與道理着實豐富,看一次絕對不夠,就是再三回味,仍可以教觀眾有不同的得着呢!
 電影一開始,就是一場非常精采的對打場面,葉問(梁朝偉飾)精簡的幾句說話,道出了功夫的道理,也訂定了整部電影的題旨。來自東北的八卦掌宗師宮保田(王慶祥飾)退隱江湖,跟葉問在金樓來了一場滿有意思的對決。事後,好勝心強的宮二(章子怡飾)相約葉問比試,開展了二人間微妙的關係。後來,日軍侵華,葉問跟宮二各有各的命運。葉問來到香港開展新生活,看見了另一個武術天地。宮二為着家門,等待跟師兄馬三(張晉飾)了結從前的恩恩怨怨。
 一個武術的故事,交在王家衛之手,自然不會是一部平凡的武打電影。他以其慣常獨特的敘事方式、一幕又一幕美如畫的影像,更重要的是以一種既深邃且廣闊的眼界,帶領觀眾進入了一個與別不同,卻極具生活況味的武術時代。電影裏的每一位武術高手,也有其背後的信念與哲理,在生命路上選擇進與退,攻與守,全在乎每個人的修為。也就是這種視野,令這部電影大大超越其他本土的武術劇情片。

戲如人生盡是取與捨

 別擔心這是王家衛的電影,你會看得不明不白,《一代宗師》的藝術性固然高,卻是一部任何觀眾也會看得明白的商業電影。當中多場武術比試場面,令人嘆為觀止。葉問及宮二的文戲,也是高手過招──我從來也不大喜愛章子怡的演出,這次卻對她另眼相看;她跟梁朝偉連場對手戲實在很精采呢!張震和張晉出場不多,卻是電影的兩大亮點。
 電影裏還有提及一線天(張震飾)和丁連山(趙本山飾)兩位武術高手,前者更跟宮二有一面之緣,可惜因為公映版本篇幅所限,對這兩位人物沒有更多的着墨。
據某國內專訪提及,王家衛最初剪了一個四小時版本,後來再以兩小時半的片長為目標,最後刪剪了不少情節,成為了現在的版本。原來拍了的包括:宮保田跟宮二的父女戲、葉問跟一線天的故事、關於丁連山的情節等,可惜最後也沒有放進公映版本裏。畢竟,在王家衛的電影世界,戲裏戲外盡是連串的取與捨,有些東西確實在每個人物的生命中出現過,最終記得或遺忘,全在於當事人的選取罷了!
《一代宗師》有某些情節、表達手法或是梅林茂的配樂,會教人想起王家衛的某上前作。結尾關於宮二的一場戲,突然響起森田芳光經典作《其後》的音樂,既是神來之筆,在情感上更是一種相對照,教人看得百感交集。
電影裏有很多值得再三回味的金句對白,每一句也充滿智慧;當中有關於武術,也有關乎人生。我最難忘宮二跟葉問說:「世間所有的相遇,都是久別重逢。」我們不少人透過電影跟這位導演相遇,每隔數年再聚,每次也是那麼難忘。這次藉着他的新作久別重逢,感覺一切安好依舊,別來無恙,風采更勝從前。

movie
《一代宗師》
The Grandmaster
導演:王家衛
主演:梁朝偉、章子怡、張震
片長:130分鐘
公映日期:1月10日

Source: http://www.metrohk.com.hk/?cmd=detail&categoryID=11
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PostPosted: Thu Jan 10, 2013 7:53 pm    Post subject: Reply with quote

http://www.chinesefilms.cn/141/2013/01/11/122s13369.htm

"The Grandmasters"
2013-01-11 10:46:40 Global Times


Opium dreams in Technicolor narrated by your favorite grandfather
After 14 years in production, with shooting alone accounting for three of those years, The Grandmaster by director Wong Karwai finally had its general release in the Chinese mainland on January 8. Stories and rumors sparked by the constant delays have filled gossip columns since 2011.

One staff member of Wong's crew, who wants to remain anonymous, told the Chinese Business View that there are three main reasons behind Wong's delays: there is no script, he repeats the same shot again and again, and he often gets strange ideas that negatively affect progress.

Indeed, much of what took so long to film may never be seen by the public. Wong's official website, wongkarwai.net, reveals that "the film's rough cut was four hours, and finally he cut it down to a 130-minute version."

In theaters now!

What remains is certainly worth the wait. Wong's ethereal style using thousands of shots, each one meticulously crafted - tight close-ups of faces, fabrics or fixtures, and his dramatic use of slow motion - produces a rich tapestry in this latest work.

The Grandmaster is a period piece set primarily in China's Republic period (1912-1949) with a plot loosely propelled by an old kung fu master's ambition to spread his style of fighting from his home in the North to the South part of China. The old master, Gong Yutian (played by Wang Qinxiang), practices two forms of kung fu: one, Baguazhang, he taught to his daughter Gong Er (Zhang Ziyi) and the other, Xingyiquan, he taught to Yixiantian (Chang Chen) with the hopes that together they might spread his ancient knowledge, but this hope is dashed when Yixiantian turns to the dark side. Thus, the film has its conflict.

Meanwhile, Gong and his entourage meet up with the film's title character, Ip Man - the legendary martial artist who taught Bruce Lee. In The Grandmaster, which critics argue should be the plural "Grandmasters," the iconic character is called Ye Wen and played eloquently by Tony Leung in his seventh collaboration with Wong. The quietly charming family man, whose wife is played by South Korean actress Song Hye-kyo, begins a quest to establish which school of martial arts is superior. Slow motion ensues.

And narration - for the first half hour there's hardly a scene with dialogue, but the voiceover by Leung accompanied by a pulsing score suggestive of an elevated heartbeat and images imbued with history and ancestry surreptitiously place the audience in a hypnotized state.

Dreamscape

Quickly establishing the film in the genre of kung fu flick, the opening fight scene in the rain is incredibly satisfying. But why rain? Water shows motion. Put kung fu in the street, and you have a street fight. Put kung fu in the street in the rain - then slow it down to where it nearly stops - and you have art.

Also, the portrait-worthy faces of Tony Leung and Zhang Ziyi are together again, but they are certainly not reprising their nocturnal wrestling matches seen in Wong's 2046 (2004). Here, they inhale each other's breath during a kung fu sparring match that takes on special significance for both and gets memorialized by a simple token - a button - reminiscent of something out of Christopher Nolan's Inception(2010).

But then, the overall design of this film is very much like a dream - an opium dream in Technicolor narrated by your favorite grandfather.

That surreal quality is precisely why moviegoers coming out of the film are hard-pressed to say exactly what happened: the plot is practically inconsequential. What moves the film forward, other than some clunky silent-film-era graphics that proclaim the date, are the moods generated moment by moment and the powerful themes carried on the smoke.

This observation is seconded by Wei Junzi, movie critic and director of planning department of ent.sina.cn, who wrote on his Sina Weibo, "The plot is pushed forward by the developing of moods."

Most of the cast can be given credit for helping Wong sustain his hypnotic effect. There is, however, one notable exception. Through no fault of his own, every appearance by Zhao Benshan, who plays Ding Lianshan (the elder master in Gong's inner circle), generates spontaneous laughter.

Are we suddenly watching a comedy? Not at all. It's simply that the vast majority of the audience is conditioned to laugh at this extremely popular TV comedian - in spite of the fact that he delivers a deeply resonant performance and has arguably the best-written monologue in the film (his mianzi/lizi speech). It's enough of a distraction to question the wisdom of such casting. If Wong's intention is to painstakingly guide the viewer's eye and imagination by zooming in on a veritable slideshow of the subconscious, then isn't he at cross-purposes with himself by giving the audience a quick poke in the ribs?

Lights, camera…

Action there is, but an action film this is not. What comes through after such meticulous perfection are themes of tradition, family, longing, revenge and unity. The values one develops from the relentless pursuit of physical control are not idealized here, but actually reveal human frailty and vulnerability.

Take for example, Zhang Ziyi's character. As director Wong told the Beijing News, Gong Er does not represent a single person, but a combination of many people of the Republic of China era.

This parallel is articulated by Gong Er in her last conversation with Ye Wen. By recalling a lesson taught by her father, she confesses that she saw herself, she saw the world, but she did not see the people. It was that third and final part of a kung fu master's journey that she was simply too tired to undertake.

"If you are a fan of Wong Karwai, you will like The Grandmaster, but if you are not, it might be a challenge for you," Wang Siwei, a freelance movie critic in Chongqing, told the Global Times in a phone interview.

A word of advice: Don't go to see The Grandmaster until you're in the mood for it. Through the right lens, Wong's long-anticipated work delivers the most gratifying collection of images produced in China for years.
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PostPosted: Fri Jan 11, 2013 12:20 am    Post subject: Reply with quote

Wong Kar Wai's martial arts epic, the 2013 Berlinale's opening night film, is equal parts existential melancholy and gravity-defying action.

Prior to The Grandmaster’s barnstorming pre-credit fighting sequence, the film’s main protagonist, Ip Man (Tony Leung Chiu-wai), is heard expounding his own view toward martial arts to an unseen friend. “Don’t tell me how good your skills are, how brilliant your master is and how profound your school is,” he says. “Kung fu: two words. One horizontal, one vertical -- if you’re wrong, you’ll be left lying down. If you’re right, you’re left standing -- and only the ones who stand have the right to talk."

STORY: THR Critics' 12 Best International Movies of 2012: THR Year in Review

It’s a line that sums up Wong Kar-wai’s much-anticipated historical martial arts epic. The Grandmaster, which will open the Berlin International Film Festival on Feb. 7, is an action-packed spectacle for sure -- indeed, the film contains some of the most dazzling fights ever seen onscreen, courtesy of the action choreography of Yuen Woo-ping (of The Matrix and Crouching Tiger, Hidden Dragon fame) -- but the Hong Kong auteur is seemingly more preoccupied with the introspective verbal exchanges between his battle-hardened warriors.

While martial arts aficionados will find fulfillment with the fights -- complete with more-than-explicit primers from some of the fighters themselves about the specialties of the art they practice -- Wong’s art-house fanbase also will find much to savor, with the leading characters oozing the kind of longing that defines the filmmaker's oeuvre. The suppressed affections between Ip and Gong Er, the young, headstrong northeastern fighter played by Zhang Ziyi, doubtless will mesmerize festival audiences converted to Wong’s aesthetics through In the Mood for Love.

REPORT: Wong Kar-wai in Last-Minute Rush to Finish 'The Grandmaster' for World Premiere

And beyond yearning of the romantic kind, The Grandmaster also is an evocation of the yearning for home from drifting individuals, with Hong Kong becoming a haven for fighters living out their last years after their forced departure from a politically tumultuous China (it’s hardly coincidental that the idea of the film was conceived as the director was putting final touches on Happy Together, his 1998 film about two Hong Kongers living in self-exile in Buenos Aires just around the time of the former colony’s transition to Chinese sovereignty). It’s a sentiment which should play well with audiences in the director’s hometown. If they are patient enough to draw such meanings from the film, that is.

Since Wong first announced the project in 2002, the life of Ip Man -- a real-life master who was responsible for the development of the Wing Chun school of martial arts, of which a teenage Bruce Lee was a student -- already has found its way to the screen with Wilson Yip's Ip Man and Ip Man 2. Offering a more straightforward account of Ip’s life, those films are distinctly more accessible than The Grandmaster, with actor Donnie Yen generating critical acclaim not just for the action but also for a measured performance revealing the man behind the moves.

This has certainly left a mark on Wong’s pursuit of The Grandmaster, with recurrent reports through the years of how the director was working to move his brainchild away from being just an Ip Man biopic. The project has traveled under the title of The Grandmasters for a certain period of time (the pluralistic title remains on the poster at the main Web page of Wong’s production company Jet Tone Films). Indeed, it would have been a more appropriate title: While Ip’s perception of the world somehow frames the narrative -- through voiceovers accounting for his background and his observations of life and characters around him -- the final two-hour cut dedicates sizable screen time to Gong Er’s story, with other masters weighing in with their own philosophical and physical nuggets as well.

STORY: Berlin 2013: Wong Kar Wai's 'The Grandmaster' to Open Festival

The film’s first half-hour is definitely Ip’s (and Leung’s), though. Set in Foshan, the section first lays down Ip’s backstory, with his narration about his childhood and his marriage juxtaposed with images of a young Ip being initiated into martial arts by his teacher Chen Heshun (played by Yuen Woo-ping himself) and then intimate sequences of Ip’s contented domestic life with his wife Zhang Yongcheng (Korean actress Song Hye-kyo). Ip’s voice then leads the viewer to the Golden Pavilion, a lavishly appointed establishment, and brothel, which serves as a 1930s version of the tavern in old-school martial arts films.

Ip is contracted into a duel with Gong Yutian (Wang Qingxiang), a martial arts master from northeastern China looking for a last fight (and a consolidation of the supremacy of his school over its southern rivals) before he retires. When Ip emerges victorious, Gong’s daughter, Gong Er, challenges Ip to a fight to restore her clan’s reputation. She satisfies her hunger for a win, but also finds herself subjected to another craving: With her and her opponent's limbs winding up all entangled (and some parts of the fight shot beautifully in slow motion), their yearnings begin.

But it’s at this point that Ip recedes into the background and Gong Er is allowed to take over. Shifting to her hometown in Japanese-occupied northeastern China in the late 1930s, the story kicks into play again as Gong Yutian dies after a confrontation with Ma San (Zhang Jin), his estranged ex-protege. Gong Er vows to avenge her father’s murder in the face of much disparagement from her misogynist elders, who tell her to let things lie and get married.

In one of their last meetings, Gong admits to having once harbored amorous feelings for Ip. But it’s a confession that leads to nothing. Just as significantly, she also tells Ip about what her main regret in life is -- that she has yet to see life as it is, and asks Ip to do so on her behalf.
Ip has survived all to tell the tale, albeit in a solitude shared by many of Wong’s forlorn protagonists in previous films. Putting Ip in a suit and tie in one of the film’s final scenes, it can be said that Wong might be evoking Chau Mo-wan, the fictional 1960s martial arts novelist whom Leung plays in In the Mood for Love.

When asked about the challenge of adhering to deadlines -- postproduction of the film reportedly was finished just in time for its world premiere in Beijing on Jan. 6 -- Wong said in a press conference that he would have spent “a couple of months more” editing the film if he could. It’s easy to agree with him on the need for this: While this domestic-release version is a sight to behold, Wong struggles to channel his original vision into a limited time span. (His first rough cut, which reportedly came in at four hours long, easily could appear later somewhere as a redux, as his Ashes of Time did in 2008.)

While Zhang Ziyi’s Gong Er is more or less complete and coherent, the same can't be said of some of the other characters, such as Chang Chen’s Razor, an expert of the Bagua school who is supposed to be another of the grandmasters. Song Hye-kyo’s Madam Ip has only a cursory presence and is basically rendered invisible in the film’s second half. It’s a situation brought about reportedly by the long gestation of the film -- rumors are that the Korean actress couldn’t fit additional filming into her schedule -- but it also undermines Wong’s efforts to provide a fully realized, nuanced account of Ip’s emotional torment.

Still, The Grandmaster offers audiences much to marvel at visually. Production designer William Chang Shuk-ping has come to Wong’s aid with sumptuous sets, ranging from the pompous Golden Pavilion to the stunning snowscapes in which Gong Yutian’s funereal march takes place. Philippe Le Sourd’s cinematography brings Yuen’s scintillating action sequences into sharp focus -- a crucial factor given Wong's penchant for close-ups that can seemingly reveal a universe in the burning tip of a cigarette.

True to Wong’s style, The Grandmaster is infused with melancholy and a near-existentialist resignation to the uncertainties of fate. Even though we know that Ip eventually will prosper -- Wing Chun is now one of the most well-known martial arts schools in the world -- Wong's version of Ip ultimately is a portrait of a sad, isolated figure. Wong seems to be saying that Ip may be the last one left standing, but he is not necessarily the one who wins, after all.

Production companies: Jet Tone Films and Sil-Metropole Organization
Cast: Tony Leung Chiu-wai, Zhang Ziyi, Chang Chen, Wang Qingxiang, Zhang Jin, Zhao Benshan, Song Hye-kyo
Director and Story: Wong Kar-wai
Screenwriter: Zou Jingzhi, Xu Haofeng and Wong Kar-wai
Producers: Wong Kar-wai, Jacky Pang Yee-wah
Director of photography: Philippe Le Sourd
Action director: Yuen Woo-ping
Production and costume designer: William Chang Shuk-ping, Alfred Yau Wai-ming
Editor: William Chang Suk-ping
Music: Shigeru Umebayashi

Source: http://www.hollywoodreporter.com/movie/grandmaster/review/410574
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PostPosted: Fri Jan 11, 2013 9:34 pm    Post subject: Reply with quote

一代宗師:反正怎也奉成經典的了

1月11日 16:20 UA ISQUARE

  電影拍攝經年、斷斷續續仍未能上映,是王家衛拍攝模式的典範,〈一代宗師〉若稱之千呼萬喚始出來,相信也無誇張。當別人已拍了兩集〈葉問〉,再加一部前傳時,〈一代宗師〉才姍姍來遲地搶個2013年頭啖湯,我卻懷疑,這是否導演和演員的名氣過盛所致。我從來對王家衛的電影沒有太強好感,也沒有太差的觀感,純粹當作普通電影來看,未至於一眾王家衛的死硬派fans般把他奉若神明,抱著平常心心態去看〈一代宗師〉,感覺也是平平。我不會刻意為「王家衛」的名字就強行替他此作作甚麼解讀,不明所以的地方也強行說讚,始終電影從原版的四小時剪成兩個多小時,在支節上的確覺得支離破碎,尤其片初的情節實在難以投入。可是,我卻懷疑是否有很多觀眾抱錯誤期待入場,誤把「王家衛」和「丹爺」掛勾,大概誤以為全片會由頭打到尾,結果卻令大量觀眾中途離場。當電影每到打鬥情節時,均以極具美感的攝影去澄現一招一式的比拼,有不少觀眾更竊竊私語道:「痴孖根,拍曬型!」其實全片從武術宏觀至做人哲學及中國文化之道,甚至從中國的近代史側寫各門各派的成長之道,所談的信息已遠超「一代宗師」那麼簡單。入場前,宜有心理準備。

  生於佛山的葉問醉於武術研究,被兩廣國術館推薦,與辦引退儀式的中華武士會會長宮寶森交手獲勝,成一時佳話,更令他成名。可是,這次獲勝卻教宮家的二姑娘宮二不服,再度與葉問交手因而結緣。其後,抗日戰爭爆發,各地武術中人均在各地流落,葉問來到香港辦武館教學,而宮二卻為報殺父而仇,甘願終生不嫁, 誓要找出仇家...


  若把故事說得太白,就不是王家衛的電影了。坦言,〈一代宗師〉所包含的信息太多,卻礙於電影先天由四小時版本剪至現時一百三十分鐘的公映版,片中明顯大量的支線都被剪走了。我覺得,尤其是電影片初的情節,明顯那並饒有味道、自行細味的用意,而是劇本原有的內容被淘空了,致使劇情變得支離破碎,毫無焦點。

  電影美其名是談「一代宗師」,但故事欲談的卻是整個武林和各門各派之間的成長路,而片名所述的「宗師」 亦已有幾位,這個宏觀的取態確比〈葉問〉系列那些強烈的「民族自慰」來得可觀。只可惜,劇本有著這個念頭,卻被剪成這個版本,令大量情節變得可有可無。片中張震所演的一線天在這個公映版中,僅有的三場戲與主線完全無關,看來忍痛割愛後,只留給予張震出場之用。撇除片中的人物和情節散亂,本片的元素也過於豐 富、包羅萬有,既談武學,又談文化和做人處世哲學,劇情時而扭至復仇的方向,又不忘談談國仇家恨,最後當然也離不開王家衛最擅長的言情戲。我相信以王家衛的名氣,哪管他拍出甚麼東西,都一定會有大量死硬派fans給他解讀,為其電影美譽一番。因為他有此名氣,電影過份貪心後,又要強行剪成支離破碎的公映版,也一樣會被奉成經典,所以哪管這個公映版剪成怎樣,都一定再成王大導的經典,倒也沒太大所謂吧?

  我覺得〈一代宗師〉蘊含大量元素中最好看的,竟是片末突變的愛情線,這也可能是王家衛最擅長處理的元素吧?宮二那種抑壓的感情,與葉問在金樓上的相遇,二人點到即止的曖昧感情,配合上故事的背景和情節,也有著另一番味道。宮二說出口的台詞已被奉成經典金句,然則這些金句並無刻意的賣弄,替片中兩人恰到好處的愛情線予以點綴。在這麼一部視野廣闊的電影中,兒女私情拍得這麼含蓄而有味道,反成了全片最難忘的一章。雖然,公映版明顯對二人的關係也刪剪了不少,尤幸這段鋪排不多的感情戲,到最後拍來也甚有味道。

  我相信在場有不少觀眾都誤以為〈一代宗師〉像〈葉問〉般有大量的動作打鬥場面,因此電影中段突然「口水多過茶」時, 很多觀眾都展現不耐煩聲音,甚至中途離場。在王家衛的導筒下,電影當然不會淪為一部由頭打到尾的娛樂片,即使在武打場面上都十分講究,這一點我又挺喜歡。 在「八爺」袁和平的武術指導下,打鬥場面當然別具糧眼,各門各派的武術比拼,拍來相當悅目耀眼。同時,在電影那充滿美感的鏡頭下,打鬥場面因應需要而變成 了大量的慢鏡,把一招一式的對陣都活現於觀眾眼前,當中宮二和馬三在火車站的一場高手過招,從步法到招式比拼,每個動作都仔細地拍給觀眾看,周遭環境因打鬥而生的反應,更現比拼時所現的力度和氣勢。最後拆招時的終極一式,更與劇情發展互相呼應,實是武打場面中的一場經典。我覺得〈葉問〉中那「快刀斬亂麻」 式打鬥,與〈一代宗師〉中澄現武術美學的鏡頭各有千秋,只是欲求動作元素的觀眾入場前宜有心理準備,否則定必看得不是味兒。
  當然,在武打場面 之外,〈一代宗師〉的技術範疇絕對一絲不苛。攝影和配樂同樣嘆為觀止。王家衛擅長利用鏡頭去說故事,一個鏡頭中所澄現的味道隨時遠勝千言萬語。此外,對於 一個擁有強烈中國文化的故事背景,〈一代宗師〉同時用上了不同語言的歌曲,或風格各異的配樂,效果亦出奇地匹配,這確是王大導「冇得輸」的功架所在。

   相信大家都知道,〈一代宗師〉的主角是章子怡而非梁朝偉,我不知道原版各人的戲份如何,就本片所見,似乎章子怡的戲更勝梁朝偉。章子怡在片中所演的宮二,既有復仇的狠勁,亦有對葉問那含糊內歛的兒女情,角色近乎由頭帶到尾,一個眼神仿佛已道盡心中情,是此女近期最出色的一回演出。至於梁朝偉可能是大家入場的一大賣點,惟戲份不多,他的演出發揮亦同樣不多,只能說是沒有失望,也沒有驚喜。值得一提是,片中有大量淪為客串的演員,可能只有一兩個鏡頭,卻教人驚喜難忘,觀眾切勿「走漏眼」了。

  此文只是對〈一代宗師〉電影上的觀感,對於電影的解讀相信各位讀者都有自己的一套觀點,我也不在此多談了。也許,〈一代宗師〉真有看回四小時的原版才有真切的感覺,畢竟這部公映版剪輯混亂,令支節顯得支離破碎,尤其是電影的初段,真要很久才能投入其 中。我覺得片中大量情節根本不是導演刻意的留白,而是劇情根本被剪掉了,只是,我相信王家衛哪管把電影剪得多爛,也一樣會被奉若神明,所以其實也關係不大。本片所包含的元素極多,〈一代宗師〉之名其實包含各個門派的「宗師之路」,而電影中的動作場面亦非〈葉問〉式打鬥,這一切我覺得觀眾入場前需有心理準 備,否則只會自討沒趣。
Rating:75/ 100

source: http://jackyheimovie.mysinablog.com/index.php?op=ViewArticle&articleId=3882258
http://blogcity.me/blog/reply_blog_express.asp?f=DOHDCCV77H228257&id=510221&catID=&keyword=&searchtype=
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PostPosted: Mon Jan 14, 2013 3:50 am    Post subject: Reply with quote

http://www.kubrickians.com/2013/01/13/the-grandmasters-2013-wong-kar-wai-tony-leung/

The Grandmasters (2013) – The best looking work in progress


Wong Kar Wai is arguably the most important auteur from Hong Kong, so the anticipation is ridiculously high for his new film The Grandmasters, a new biopic of Bruce Lee’s master – Yip Man (yes, it is spelled this way, not Ip Man). Wong has made some of the best films ever coming from Hong Kong including Chungking Express, Happy Together, and the Cannes-winning In the Mood of Love. His best work depicts mostly lost souls and doomed romance in the urban setting of Hong Kong. One must be curious how Wong can pull off an action-packed biopic, that is the farthest end of Wong’s spectrum.

Fact check. Wong had spent 11 years on the research for this film, including the history of Kung Fu and the real-life grandmasters of the art. Then he spent another 5 years in the filming and production of The Grandmasters. That’s an incredible long production for the Hong Kong film industry (or by the standard of any film industry), given the fact that most Hong Kong productions last usually 1 to 2 years from development to release to grab quick box office wins. The anticipation and hype are so colossal that the film is destined to be a huge opinions divider.

Wong’s long time protégé Tony Leung plays Yip Man, the grandmaster of a Southern variation of Kung Fu called Wing Chun. The life of Yip Man has been portrayed by Donny Yen already in two major Hong Kong box office hits, which have turned the Kung Fu master from an ordinary man to a superhero. Tony Leung’s take on Yip Man is more subtle, exploring more of his philosophy rather than the speed of his kick.

The film began in Foshan, a Southern city of China, during the dawn of the second Sino-Japanese War. Many Kung Fu masters, renowned or unknown, cluster in a famous brothel called Golden Pavilion where they socialize, exchange Kung Fu knowledge, and duel. A North-eastern Grandmaster Gong (Wang Qingxiang) pays a visit to the brothel to celebrate his retirement. In the tradition of the Kung Fu universe, a grandmaster must give his last fight to someone from the young generation to pass on the torch. After Gong’s most prestige pupil Ma Shan (Zhang Jin) demonstrates the superiority of the Northern style by taking on several Southerners at once, Yip Man steps forward to fight the Grandmaster. In one extraordinary scene we see Yip Man duels the grandmaster not with physical strength, but with his intellect and philosophy. He believes that the world is bigger than just the North and South, and Kung Fu must find its place in the bigger world.



Gong declares Yip the winner and retires. However, his daughter Gong Er (the incredibly gorgeous Zhang Ziyi) cannot accept the result and challenges Yip for a second match. The two meet again in a breathtaking fight, from which the two develop a mutual admiration and attraction, which will last for several decades to come. I will stop here and let you watch the rest. There are several plot twists enabling Wong to tell a story that explores the philosophy of Kung Fu and the era that the grandmasters inhabit. The romance is played down to a subtle level similar to In the Mood of Love. Their relationship is told in Kung Fu and letters exchange rather than spoken words.

Under this backdrop, there are also several supporting characters whose purposes have never been explained well because the characters are so underdeveloped. This feels almost like Wong has forgotten them in the editing room and these characters just pop up from nowhere. In The Grandmasters, we see a director struggling to piece his ideas into a coherent story told by conventional movie techniques, which Wong is never good at. He is more accustomed to creating the mood and texture rather than straight forward story-telling.

There is obviously a bigger story to tell here. Wong admitted that he trimmed the movie down to 2 hours for the release, whereas in fact he has a complete 4 hours version. The Grandmasters is the best looking work in progress ever, and by no mean a complete work. It’s enough to win the box office for now, which Wong needs to pay off the investors. God knows how the complete film would look like until Wong is ready to release the final cut.



The Grandmasters (2013) is directed by Wong Kar Wai, starring Tony Leung Chiu Wai, Ziyi Zhang and Chen Chang.
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nancix**



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PostPosted: Tue Jan 15, 2013 10:24 pm    Post subject: Reply with quote

頭條影評——《一代宗師》性格決定命運

 這是一部文藝愛情武術紀錄片。

 是的,梁朝偉的戲份不及章子怡多,張晉的角色亦較前者更立體,別提張震了,亦不要跟《葉問》比較,因為王大導今次教你做人,跟只賣弄拳腳的功夫片相比,是山與水的分別。
究竟電影好看嗎?肯定不會個個喜歡,因為節奏極慢,如文火慢燉般,去燉出戲味來,所以精神不好就不要逞強入場了。
場景靚極,攝影及構圖均精雕細琢,無從挑剔,絕對可以讓我忽略電影上的不足。
另外被激讚的台詞確有深意,字數不多不少,每一句也計算得極準確,有人說作為武俠片,對白未免多了,請重看此影評的首句。

  章子怡飾演的宮二愛恨分明,跟葉問的低調無所謂是一個極大對比,因為前者的性格,宮家拳失傳了,反之,詠春最後傳遍世界。
拍了多年,王大導想講的就是武術的真正精神不在於勝負,而在於想法及傳承,意念好精彩,可惜劇情刪減得太多,有大量的不明所以,張震好歹也有三場戲亦有對白,可憐的徐錦江卻被刪了九成,只露兩面零開口,想到了電影中一句妙絕對白,「說人生無悔,都是賭氣的話。人生若無悔,那該多無趣啊!」(思慧)

Source: http://news.hkheadline.com/dailynews/headline_news_detail_columnist.asp?id=223085&section_name=wtt&kw=283
http://blogcity.me/blog/reply_blog_express.asp?f=DOHDCCV77H228257&id=510221&catID=&keyword=&searchtype=
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Last edited by nancix** on Tue Jan 15, 2013 10:46 pm; edited 1 time in total
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PostPosted: Tue Jan 15, 2013 10:45 pm    Post subject: Reply with quote

翠袖乾坤:王家衛《一代宗師》
[2013-01-16]文匯報

查小欣

 王家衛花了七年時間拍《一代宗師》,拍攝期長短從不與電影可觀度掛,對宣傳卻幫上大忙,《一代宗師》以「終於上映」作賣點,成功製造引頸以待的效果,果然開畫首日內地大收三千萬,一雪《花樣年華》內地累積總票房只三千萬前恥,香港首日亦有二百萬的佳績。

 電影序幕由高潮開始,讓觀眾先欣賞梁朝偉以一敵百的雨夜大戰,不枉梁朝偉練功斷手兩次、拍了三十多個通宵至患支氣管炎,其身形出招都甚為瀟灑,具大師風範。有別於《葉問》的光猛畫面,《一代宗師》以浪漫陰柔做主調,拍攝手法就如由米芝蓮三粒星級廚師炮製一頓講究氣氛、賣相的法國餐;《葉問》則是一頓精彩實惠又飽肚的酒樓菜。

 看王家衛的電影,就如欣賞一幅名畫,名畫無語無表情,不會煽動觀畫人的情緒,觀畫者可慢慢感受畫意,王家衛電影中的主角表情不多,情緒表達很低調,五官紋風不動,父親被殺,章子怡沒皺一下眉,她救張震脫險不驚不喜,沒流露半點感情,梁朝偉亦如是,與妻談情,跟與高手比武,表情差不多,唸對白語調平和,大喜大悲話聲都不會高三度或低兩度,觀眾可自由詮釋角色的感受。

 《一代宗師》由籌劃到完成,前後需時長達十七年,比起詹士金馬倫用十五年完成《阿凡達》多兩年,究竟誰才是真正的一代宗師?

source: http://paper.wenweipo.com/2013/01/16/OT1301160029.htm
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