Buy Ip Man Blu-Ray
Wednesday, May 12th, 2010
When IP Man first came to dvd I got the first print edition and have watched this gripping movie now 6 times and it is smooth worth a show search for! I now have the HK 2-disc special edition and this is the one to acquire with the special features! This movie is about the life and times of IP Man, renowned for his style of Chinese martial art - Hover Chun, which specializes in terminate quarter combat, concentrating on centerline attack and defense; Donnie Yen is an splendid martial artist and it shows in this film! I won’t give away the movie, objective go and acquire this astonishing movie, it has been compared to Gallant, which I have seen, and it is a expansive movie also, but this one, IP Man is my well-liked of all my martial arts movies!
A stately substantial budget period biopic, loaded with well choreographed, shot and edited fight scenes, of the martial artist widely credited for bringing Fly Chun kung fu from southern China to Hong Kong in the early twentieth century, and whose concepts and training ideas were adapted by his most renowned student, Bruce Lee, who promoted those ideas as, “the scheme of the intercepting fist,” in his book, “The Tao of Jeet Kun Do.” The film clearly emulates the scope of the Jet Li film, “Gallant” - which was about the redemption of the martial arts fighter, Hua Yuan Jia, who (at least in the heavily fictionalized “Bold”) overcame a egotistical brutality to leave leisurely a similarly impressive legacy in the worldwide spread of the JingWu school of martial arts and general physical education (a kind of YMCA offering kung fu training as well as other forms of physical education in several countries) . The film is also remarkable for Donnie Yen’s atypically restrained performance as Ip Man, a wealthy martial artist, who lived in a town filled with ample teachers, and resisted the Japanese colonial government in southern China, when they pressured him to speak japanese soldiers, resulting, ultimately in the historical Ip Man having to waft occupied China, and emigrate to Hong Kong, where he eventually began teaching to accomplish a living (something most martial arts film fans might know going into the film) .
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However lacking the character arc Ronny Yu and the makers of “Intrepid” imposed on the life narrative of Hua Yuan Jia (critics rightly point out Donnie Yen’s Ip Man is nothing less than a living saint, and doesn’t evolve at all as a character throughout the film) the filmmakers wisely beget up for it by developing secondary characters drawn from the community Ip Man lives in before the Japanese invasion. Some are forced to become collaborators with the occupation government, others are forced into matches with Japanese martial artists, others join tongs like the Axe Gang, which preyed on chinese civilians during the long period of the occupation and the chinese civil war. All of these lives intersect with the newly dispossessed and impoverished Ip Man as he tries to survive, feed and defend his young wife and child, against the depredations forced on the southern chinese by the Japanese occupation, and eventually finds himself taking on challenge matches against japanese fighters, at first, to collect food for his family, and then later, as a matter of principle.
That aside, the film is chock fleshy of good-to-great martial arts fight scenes, including ample (and some not so suited) matches between members of the Fo Shan Mountain’s ample community of martial artists before the Japanese invasion, and increasingly desperate battles afterwards, between struggling workers and gangsters, starving martial artists and japanese soldiers, and publicized challenge matches against Japanese martial artists situation up to further humiliate the oppressed population. Though I do assume fight choreographer Sammo Hung, and Yen didn’t quite manage to net across the efficiency and sheer finesse exhibited by dependable masters of the style (possibly better seen in two earlier coast chun-based films he directed, “Warriors Two] and “Prodigal Son”), Hung deserves a lot of credit for choreographing the increasingly brutal fight scenes in a draw that shows how Flee Chun differs from other styles of chinese and japanese martial arts. (A considerable more detailed discussion of the major fight scenes is up at kungfucinema.com http://www.kungfucinema.com/review-ip-man-2008-5481 for those with a strong interest in the technical side of these things.) I particularly liked the performances of Yen (again, far more disciplined and restrained than usual), Louis Fan as a northern stylist, Hiroyuki Ikeuchi as a Japanese General, Xing Yu and Chen Zhihui, as Fo Shan Mountain martial artists.
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“Ip Man,” is definitely worth seeing, and while it it doesn’t quite match the dramatic strength of “Bold,” the writers and filmmakers have crafted an provocative enough, well produced myth to actually sit through the segments between the fight scenes, which is saying a lot these days. “Ip Man, Portion I” has made stunning serious money (a sequel covering Ip Man’s years in Hong Kong has been greenlit - I’m already looking forward to seeing who wins the tall fight over who gets to play the young Bruce Lee) and I hope, along with “Courageous” it leads to more astronomical budget period kung fu films with (hopefully) better and more lively narratives than the usual “theatre of revenge” fare. Judging from all the ample budget period war movies (like “Red Cliff I and II,” “Three Kingdoms: Resurrection of the Dragon,” “The Warlords,” “Seven Swords,” “An Empress and The Warriors,” “A Battle of Wits” coming out of China these days, it’s obvious the Chinese are willing to utilize the money … there’s a reliable chance we’ll also find more films like “Courageous” and “Ip Man.” Certainly there are no lack of candidates, (Wong Fei Hung, Yang Luchun, the Chen Family, Dong Haichuan, Yueh Fei, .. the list goes on) for cinematic canonization in the long, long history of Chinese martial arts.
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