‘San Jiang Shui: I like
those eyes of yours. They remind me of my
mom’s.
The Razor: Want both? Or just one?
San Jiang Shui: Not so fast.
The Razor: How about, you do the honors?
San Jiang Shui: Forget it. You’re a real man. It’s the anniversary of
my mom’s death. I’ll leave you those two lamps of yours.’
mom’s.
The Razor: Want both? Or just one?
San Jiang Shui: Not so fast.
The Razor: How about, you do the honors?
San Jiang Shui: Forget it. You’re a real man. It’s the anniversary of
my mom’s death. I’ll leave you those two lamps of yours.’
--
Dialogue between The Razor and San Jiang Shui at White Rose Salon in The Grandmaster
Introduction:
In The Grandmaster, seeking is associated with lighting as a motif to
explore idea of enlightenment and inheritance. Protagonists are presented as a
group of searching ways to insist on living with Kungfu in ambivalence even if
their gurus and the thoughts are no longer able to guide them, instead of
invincible heroes and heroines (cliché about heroism). The experience is like
light of a lamp: if life gives oil lamps an end, make kerosene and electricity
working.
A Journey of Grandmaster
Chang Wing-shing, the wife of Ip Man, lights a lamp when
he goes out, but it will be switched off by Ip when he comes home. The plot
later on echoes this sense, as Ip finds conventional idea from Chang1,
although helps him much in Foshan, cannot be applicable in his rootless and
challenging life in Hong Kong anymore, especially after death of Chang2.
In
the days of Foshan, he meets Uncle Deng3, who, as a beacon, gathers Sister San
(familiar with Bagua), Mr. Accountant (Xingyi expert) and Brother Yong
(familiar with several styles of martial art) in his brothel to show Ip a realm
of martial art - the key of different martial art styles - through exercises
before his fight with Master Gong.
Later, Uncle Deng has been found dead because of
bombardment, and the brothel Ip has used to stay is occupied by Japanese
soldiers. The passed away of Uncle Deng and brothel connotes the light fades – Ip
has to leave the comfort zone and earn a living by teaching Wingchun in
ambivalence which has been learned.
Meeting Ding Lianshan in Hong Kong, who studying in same
Kungfu stream as Master Gong, Ip learns Ding wants to remind him being humble despite
idea of Ip regarding passing the torch is ahead of the time4, and
why Gong family declines. Ip shows his understanding by accepting invitation from
Ding of lighting cigarette, which connotes the torch is passed, although they
have a different way in teaching martial art (Ip for his belief in Kungfu: ‘all
styles are on the same quest’; Ding for reputation of his stream).
Despite of choosing different ways from members of Gong family
and Ding, Ip Man shows the key to inheritance: exploring what you have been
enlightened by others. The key also indicates what Ma San and Gong Er have
missed, as they keep on advancing on their ways5, of advice from
Master Gong: being deferential - respecting others and avoid being arrogant.
Taking a different path from Ip, Gong Er intends to
restore reputation of Gong family as Ma San, a student of Gong family, causes
the death of Master Gong. When she shows her determination by vowing to keep
her identity as a member of the family, Gong Er asks for guidance of her father
in the name of Buddha6 with checking whether an oil lamp is lighting.
The sense also suggests she chooses devoting to traditional values which have been inherited.
Reunioning with Gong Er again after meeting Ding, Ip practices
what he has known, from belief of Master Gong, about mastery which has three
stages: Being, Knowing and Guiding. Mastering a skill is not only being an
expert, also passing on what you have known, i.e. guiding younger generations. A
returning of your knowledge. Thus, even a person passes away, wisdom will light
forever in Samsara7.
Conclusion:
A Thousand Heroes with One Face
In The Grandmaster,
inheritance is placed amidst confrontation of new and old, ideal and reality.
The struggle, though inevitable, can make a person as hero(ine) if s/he can
insist on the journey of mastery. As Campbell says in The Hero in a Thousand Face: ‘A hero ventures forth from the world
of common day into a region of supernatural wonder: fabulous forces are there
encountered and a decisive victory is won: the hero comes back from this
mysterious adventure with the power to bestow boons on his fellow man,’ (30),
and Ip Man in The Grandmaster: ‘The
martial arts belong to all. We’re all on the same quest. It all comes down to
those two words: rise, and fall.’
Endnotes:
1
Chang Wing-shing tells Ip Man: ‘A man should do things he can handle after 40.’
[DVD timecode: 00:16:07 – 00:16:10]
2
Narration of Ip: ‘From now on, I can only take my step forward without glancing
back.’ [DVD timecode: 02:00:59 – 02:01:03]
3
His surname literally means ‘light’ in Chinese.
4
The idea, which Kungfu should not be limited in China if it works, is presented
by Ip in the battle against Master Gong [DVD timecode: 00:35:20 – 00:35:46].
5
Ma San: ‘Master Gong had taught me that better to advance than to stop.’ [DVD
timecode: 01:08:46 – 01:08:57]
6
Ma San calls himself ‘the Guardian of Buddha’ when encountering challengers
against Master Gong at Golden Brothel [DVD timecode: 00:14:27 – 00:14:42].
7Samsara:
a Buddhism concept: Mind would not fade. It leaves when a body is decayed, and
will revive in another body to continue the birth-living-rebirth cycle. Hence,
Mind can be polished and long-lasting.
References
Campbell, Joseph. The Hero with a Thousand Faces. Novato,
California: New World Library, 2008. Print.
California: New World Library, 2008. Print.
The
Grandmaster. Dir. Wong Kar-wai. Perf. Tony Leung
Chiu-
wai, Ziyi Zhang, Chen Chang, Benshan Zhao. Mei Ah
Entertainment, 2013. DVD.
wai, Ziyi Zhang, Chen Chang, Benshan Zhao. Mei Ah
Entertainment, 2013. DVD.
Appendix:
English translation and Chinese name of characters, places and styles of
Martial Art (Kungfu)
1.
Characters:
‘The Razor’ Yi
Xian-tian 一線天
Brother Yong 勇哥
Chang Wing-shing 張永成
Ding Lian-shan 丁連山
Gong Er 宮二
Gong Yu-tian (Master Gong) 宮羽田
Ip Man 葉問
Ma San 馬三
San Jiang Shui 三江水
Sister San 三姐
Uncle Deng 燈叔
Brother Yong 勇哥
Chang Wing-shing 張永成
Ding Lian-shan 丁連山
Gong Er 宮二
Gong Yu-tian (Master Gong) 宮羽田
Ip Man 葉問
Ma San 馬三
San Jiang Shui 三江水
Sister San 三姐
Uncle Deng 燈叔
2.
Places:
Foshan 佛山
Hong Kong 香港
Hong Kong 香港
3.
Styles:
Bagua 八卦
Wingchun 詠春
Xingyi 形意
Wingchun 詠春
Xingyi 形意
(HUNG, Ka Yan, Grammy [id: 10453305])
A nicely written review with some sharp observations on the symbolic icons and metaphorical expressions. You have identified the associated allegorical meanings of “lighting”, and explored the process of enlightenment and inheritance in the film.
ReplyDeleteIf you approach the text from another perspective, say like audience study, what are the messages signified by the ritual of “lighting” in modern day society? How could we identify with these signifiers and negotiate/reaffirm our identities during the textual consumption?
[part 1]
DeleteThank you for the comment.
Thought of this way, but it is an absent element within the text. What I have worried, concisely, is un-match of actual interpretation of audience and expectation from person(s) who write(s) review.
Kungfu matches in the film are usually interpreted as struggles between aging and young generation. It exists probably because aging people have been treated (in fact, usually they do) as a group which puts pride as the top priority in name of tradition (e.g three principles and five general rules in Chinese context), which is why they are stubborn. To break this barrier, young people have to accept challenges (or challenge, in another way round) from aging people.
In these struggles (quarrels, argument with parents, teachers, those granddads and grandmas at the park, etc.), some opponents can be won simply by shouting at them, stating opinion loudly, or getting ideas popular through ways which aging people may not familiar. They may get down as audience but convinced because they think ideas insisting are still the best and invincible (simply forgotten everything will change, as the time they assured their teachers/gurus). Similarly, although Sister San, Yong and Mr. Account lose the battle (be an audience behind the screen at brothel), they still think that Ip Man is going to lose because they think Master Gong has the way to express ideas they insist.
In the battle that Ip Man encounters Master Gong, what Ip showing is not only his physical and Kungfu talent but his ahead-of-the-time thought. It convinces most of the people in the brothel except Gong Er (go on later), so they appreciate Ip. If you (unfortunately) find that cannot negotiate with your opponent, try to show your ideas with respect of theirs (though I can't predict how stubborn your opponents would be, ha). That also explains Ding's existence: reminding Ip to be humble because never know when the battle similar with the one with Master Gong appears in the life, and when the ideas should be polished to adapt to changes in life. More importantly, Ding's leave (after he meets Ip) reminds no one can stay on the stage forever. After s/he gets the job done, leave in time.
[Part 2]
DeleteGong Er and Ma San's battle is another kind. At first, may be it is also a feeling of many audience: retribution for Ma San as he has worked for Japs. Yes, it could be, and should be, but they probably stay at denotation level. (Disclaimer: Okay, I'm NOT sympathising Japs.) Make an observation of Gong Er's move when encountering Ma San: the critical move is what Master Gong has used when Ma San visits him in Northeast China, after Ma accepting his post to serve Japs.
For me, the battle of Gong Er and Ma San has several connotation:
1. a journey for Gong and Ma to learn the thing Master Gong wants to teach them; (signifer: train)
2. the fate that Gong and Ma should keep the reputation of Gong's family together (see what they have learnt), if they don't, the whole family would end; (signifier: watch the time and the day specified)
3. So it is not a give-and-take issue Gong and Ma arguing after the battle at train station: fate or choice that makes them conquer, and learn the same idea. If a person choose his/her way, s/he should bear the responsibility and consequence.
And, Ding's union with Ip is a 'battle' too: they strive for different goal in Kungfu. Especially the lighting-cigarette scene. Well, more than that, it is a reminder for Ip, and young people: one day you will get old too, even if you don't, there is always someone who can inspire you, even someone you are not familiar with, physically cannot stand with you, and you don't agree with them. Never be arrogant. (Also why Master Gong reminds Ma San the challenge of his supreme move is turning back.)
Back to identity issue. If really need to be theoretical, the film puts audience in the third person spectator's position in regard to protagonists, except moments that Japanese soldiers occupy the Golden Brothel, as a reflection of your choice of life (signifier: windows and frames at the brothels, houses and Chinese restaurants).
Of course, one scene that cannot be missed is Gong Er's relatives looking down on Gong's ability to take revenge. It is a typical gender politics representation in film, and real life also, if really need to state that.
And, more than identity politics, the film shows ambivalence faced by different generation through Ip Man and other characters. Of course, Wong Kar-wai has dedicated to do his filming and research, as usual. But, for me, the 1930s-60s in the film is a simulacrum - a container that is stuffed by message of the director.
So you might know why I don't go through this part, though it will make the review more thought-through - It is totally about personal (hard-)feeling which cannot be quantified and generalised (everyone has a different life). As I do not experience much of struggles and arguments as tried to avoid them in my childhood and teenage, so almost no feeling, get no glimpse about this kind of ambivalence, and do not include this part in my review.
[Comment by Grammy]