Yi dai zong shi (2013)

Ip Man (or Yip Man), legendary Wing Chun master, was born in a wealthy family in Foshan, China in 1893. Having trained his art since he was 13 years old, Ip Man developed his Wing Chun technique to a high level of perfection, but while he did teach his style to friend, he wasn't interested in opening a martial arts school. This changed with the Chinese Civil War, when political reasons forced Ip Man to leave Foshan for good in 1949 and settle in Hong Kong. Living in poverty, Ip Man finally opened a Wing Chun school in Hong Kong (his students would include a very young Bruce Lee), that soon made his martial arts famous in the city, and later in the world. This status as grandmaster of Wing Chun, along the time period he lived through, have turned Ip Man into an almost mythical figure (similar to Wong Fei-hung), and his life has inspired numerous films beginning with "Yip Man" in 2008 (directed by Wilson Yip). That very same year Hongkonger director Wong Kar-wai announced his own film about Ip Man, but the project faced constant delays and couldn't see the light until 2013, when finally "Yi dai zong chi", "The Grandmaster" was released,.

The story in "Yi dai zong chi" begins in the first years of the decade of 1930s, when Ip Man (Tony Leung) is living a peaceful life in Foshan as a respected martial artist along his wife Zhang Yongcheng (Song Hye-kyo). The grandmaster of the Northern region, Gong Yutian (Wang Qingxiang) arrives to Foshan announcing his retirement and the appointment of Ma San (Zhang Jin) as his heir. He is also looking for a heir in the Southern region: whomever can defeat him will be his heir. The Southern masters asks Ip Man to represent them, and he manages to defeat Gong Yutian, who now respects him as the winner. Gong Yutian's daughter, Gong Er (Zhang Ziyi), decides to challenge Ip Man herself, as she pretends to recover her family's honor. After their duel, a deep friendship begins between them, a relationship that's interrupted by the outbreak of the Second Sino-Japanese War. During the war, Ip Man will face poverty and hunger in Foshan, while in the Northern region, a vindictive Ma San murders grandmaster Gong Yutian. As times are changing in Chine, a generation of masters of martial arts will try to survive.

While "Yi dai zong shi" begins apparently as a biopic of Wing Chun master Ip Man, the literal translation of its title, "Generation of master", is perhaps the best description of what it really is: a meditation about a whole generation in Chinese martial arts history. So, taking Ip Man as its starting point, the screenplay (written by Zou Jingzhi, Xu Haofeng and director Wong Kar-wai himself) gets into reflections of a more philosophical type regarding the Chinese Civil War, making a parallel with the expansion of martial arts through the country. Grandmaster Gong Yutian's dream of unification between Northern schools of martial arts and the Southern masters ends when political forces divide the country in the middle of wars, events that will divide the characters and force them to make decisions they may later regret. And this melancholic lament of regret, a lament of tragic loss (familiar themes in much of Wong Kar-wai's cinema) echoes through a story in which knowledge of martial arts is a precious heritage, and its perpetuity in memory, a matter of life and death.

In terms of style the film is also a journey through familiar terrains for Wong Kar-wai: there's poetry in the dialogs, an extremely beautiful work of cinematography (courtesy of Philippe Le Sourd) and a disjointed narrative. Unfortunately, this last aspect becomes problematic as in the attempt of capturing the spirit of a whole generation, Wong seems to ramble, leaving unexplainable plot holes and underdeveloped subplots (the character of "Razor" Yixiantian could be removed and nobody would even notice). Since the film lacks a solid structure, the movie feels incomplete. But "Yi dai zong shi" isn't merely a recollection of Wong Kar-wai's thematic obsessions, it's also a martial arts film, and in this aspect the remarkable fight coreographies staged by the legendary Yuen Woo-ping are a highlight of the film. Truly getting to the origins of the portrayed martial arts, Yuen manages to make a relatively faithful portrayal of the diverse styles employed by the masters, focusing not on fantastic exaggeration, but in the inherent beauty of the correct execution of a technique. This is certainly one of Yuen Woo-ping's best jobs.

Tony Leung, a familiar face in Wong Kar-wai's cinema, manages to truly get into the role of Ip Man, making him an arrogant yet disciplined man. Leung's Ip Man is a martial arts aesthete who knows he is fortunate, but that doesn't take advantage of his privileged position. Leung's work gets better as his character grows older, as the arrogance of youth gives place to wisdom and serenity after a life of hardships during the war. However, while Tony Leung makes an effective performance, it is really Zhang Ziyi as Gong Er who truly steals the show in "Yi Dai zong shi". As a woman obsessed with revenge to the point of sacrifice, Zhang Ziyi delivers one of her best performances ever, creating a character of complexity and beauty. With elegance and strong screen presence, Zhang Ziyi manages to express more with a single look than with the film's poetic dialogue. Finally, Chang Chen appears as "Razor" Yixiantian, character whose plot is sadly forgotten latter in the movie. The interesting things is that, in spite of that, Chang Chen manages to create a character with greater impact than Tony Leung's Ip Man.

Maybe the most remarkable aspect in Wong Kar-wai's film is the great beauty of cinematographer Philippe Le Sourd's work, who manages to capture the melancholy of the romantic view of Wong Kar-wai on the time period in which the film is set, as well as the beauty of the portrayed martial arts. A perfect complement to choreographer Yuen Woo-ping's work, Le Sourd's cinematography enhances the style and technique with great aesthetic beauty. Quite appropriately for a story about characters that value technical proficiency above all things. However, it's unfortunate that the beauty of the cinematography and the excellence of the performances get lost in a narrative that at times seems to lose the direction where it's going. The stories of these masters, Ip Man, Gong Er and "Razor" Yixiantian are extremely interesting, but there's a moment where it seems that the movie decides to focus exclusively on Gong Er and forgets entirely the other two, which end up in a rushed manner. The sensation the film leaves is that for some reason, "Yi dai zong shi" is not a completed film, despite that there are three different cuts of the film.

Despite this big problem with its narrative, "Yi dai zong shi" is a movie of great visual beauty and impeccable cinematic technique. Wong Kar-wai manages to create a martial arts film that's reflexve and philosophical without sacrificing the genre's inherent spectacle. It would be unfair to expect a proper biography of Ip Man when what Wong Kar-wai pretends is to get into the memory of a bygone time: the end of Chinese Civil War. As famous filmmaker John Ford once stablished: "When the legend becomes fact, print the legend". Wong Kar-wai gets into the modern myths that are the old martial arts masters and finds a group of fascinate characters that struggle to survive in a world that seems to have left them behind. Unfortunately, "Yi dai zong shi" fails to become the great work it could had been.

7/10

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Captain Phillips (2013)

On April 8, 2009, a gang of four Somali pirates boarded MV Maersk Alabama, a container ship traveling 240 nautical miles off Somalia's coast. At the helm of MV Maersk Alabama was captain Richard Phillips, who had the mission of taking the cargo to Mombasa, Kenia. The situation got complicated when the crew captured one of the pirates and started negotiations to switch prisoners. The pirates secured their escape on a lifeboat, but took Phillips hostage with them. Everything would end in a risky rescue attempt by a team of Navy SEAL snipers. The kidnapping and rescue of captain Richard Phillips soon became international news, and as usual, an adaptation to the big screen began to be developed. Taking as basis captain Phillips' own account of the kidnapping, "A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea", director Paul Greengrass and screenwriter Billy Ray developed a story with the intention of capturing the intense human drama of the tale. With the simple title of "Captain Phillips" and actor Tom Hanks leading the cast, this attempt isn't really bad, though it's far from amazing.

In "Captain Phillips", Tom Hanks plays the eponymous protagonist, captain Richard Phillips, who takes command of container ship MV Maersk Alabama in the port of Salalah, Oman. His destination, Mombasa, forces him to follow the dangerous route of the Somali coast, where pirate attacks are common place due to the poverty of the region. At the helm of Maersk Alabama, Phillips shows an excessive (bordering paranoid) preoccupation with security, which doesn't help him to make friends with his crew. At the same time, the young Somali pirate Abduwali Muse (Barkhad Abdi) gathers a crew of four people with the intention of capturing a big ship. Muse wishes to show his skill as a pirate, as he is usually bullied by other pirates from his tribe. On april 8, the lives of Muse and Phillips will collide when Muse's small crew manages to board the MV Maersk Alabama, making Phillips' worst nightmares a reality. Determined to protect his crew, captain Phillips will need to find the courage to face Muse and recover the control of the ship. However, things go seriously wrong when he is taken hostage by the pirates.

Written by Billy Ray (co-scriptwriter of "The Hunger Games"), the screenplay for "Captain Phillips", tries to be not only an account of captain Phillips' story, but to make a study of the relationship between two apparently different characters, captain Phillips and captain Muse. At the beginning, both captains prepare the travel of their lives, Phillips checking his ship while Muse picks up his crew amongst the somali men of his tribe. Phillips faces the mistrust of his crew, while Muse sees himself humiliated by other pirates. Finally, both captains face each other in an endurance test, with Phillips trying to manipulate Muse while the young pirate attempts to show (to his own crew and to himself) that he is the boss and has the situation under control. This focus is interesting in the sense that allows to truly get into the character of Abduwali Muse in a more human way, exploring his fears and feelings, giving him more complex dimensions than what are normally found in typical villains. This attention to the psychology of the characters is without a doubt a great virtue in Ray's screenplay, but it's not enough to sustain the weight of the film.

At the helm of "Captain Phillips" is British director Paul Greengrass, whom isn't really a stranger to make films based on tense stories from real life (as "United 93" demonstrates). In "Captain Phillips", Greengrass gives the film his familiar style based on handheld camera, which gives the movie a tone of documental realism. Cinematographer Barry Ackroyd's camera truly gets inside every scene in an almost active role, more as a participant than as mere witness of the action, managing to capture the human drama that's developed between the characters. And it's truly the difficult relationship between Phillips and Muse what actually drives the film. Greengrass and Ackroyd (who had previously worked together in "Green Zone" and the afore mentioned "United 93") capture the intensity of this relationship which is formed not only in dialogues, but in sights and silences. However, it's worth to point out that the rhythm of the movie falls flat during the second half of the film, as while Greengrass builds up the tension of the struggle between the crew and the pirates, when Phillips gets kidnapped the film loses steam. Badly.

The performances by the cast are truly the greatest asset of "Captain Phillips", as it's in the acting duel between veteran Tom Hanks and newcomer Barkhad Abdi where the real strength of Greengrass' film truly is. Hanks once again takes his classic everyman role that has given him success through his career. As Richard Phillis, Tom Hanks builds up a character different to the typical hero: he's a common man, arrogant and proud, full of flaws but with a strong determination to succeed. Tom Hanks truly manages to disappear in the character and make him real in a stark and realistic way. Young Barkhad Abdi debuts in the silver scree making a tremendous, high quality job in the role of Somali pirate Abduwali Muse. Director Pual Greengrass, fond to use actors with little to no experience, has the merit of finding and guiding a talent such as Abdi's, who truly captures not only the essence of a character as complex as Muse, but also the spirt of the Somali people, living under oppression and without great opportunities, and finds in piracy a way to survive.

As mentioned before, that's probably the greatest merit of "Captain Phillips", the achievement of building gip complex characters living in a world that's no longer black and white. The recognition of the humanity of the characters and using this recognition to make a statement: Muse is in the end, a young fisherman with dreams that seem impossible in his reality. However, this is also the origin of a big problem with the drama that "Captain Phillips" unfolds, as the film reaches a point in which the story becomes more interesting from the pirates' point of view. It's not only the fact that Abduwali Muse has been developed as a more sympathetic character than Phillips, but that ultimately the movie is the story of four young pirates facing the strongest army in the world. The matter of Phillips' survival gets overshadowed by Muse's overwhelming tragedy as a man looking for a way out that, like his dreams, is another impossible., And still, despite how fascinating these characters are, Greengrass seems to return to the traditional formula of action films during a climax that seems to remind us that these four are just the baddies and well, deserve their outcome.

Ultimately, it seems that "Captain Phillips" struggle between being two different kinds of movie: on one hand is the poignant drama that portrays a real situation exploring its characters as complex and real human beings, and on the other a tale of survival where it's clear who are the goodies (the U.S. navy of course) and the baddies. In "Captain Phillips", it seems that Greengrass started making the former and the film ended up becoming the latter. In the end, it would seem that the tense conflict between captain Richard Phillips and Abduwali Muse is diluted when the film becomes an unfair duel between four unprepared pirates and the efficient U.S. navy. While technically impeccable and with two truly brilliant performances by Hanks and Barkhdad Abdi, "Captain Phillips" lacks a bit of tact when dealing with the complex theme of Somali piracy and gets lost at sea when it attempts to solve its own identity conflict.

6/10

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My Week with Marilyn (2011)

Mythic. Unique. Simply out of this world. The seductive and mysterious figure of Marilyn Monroe is perhaps the greatest icon that cinema has created since its invention. Her meteoric career and sudden death have combined to make of Norma Jean Mortensen (her real name) a modern myth, the perfect embodiment of the dream factory that Hollywood intends to be. A truly pure symbol of the huge impact that cinema has in modern life. And a big part of this myth is to discover just how much of her was the goddess MArilyn and how much was still Norma Jean, the shy and insecure young woman with the dream of being more than a movie star, of being a real artist. This side of her personality is the one seen in the memoirs of Colin Clark, whom in 1957 worked as assistant to Sir Laurence Olivier at the time when Marilyn traveled to the United Kingdom to make "The Prince and the Showgirl". And his cinema memories return now to the big screen with "My Week with Marilyn".

"My Week with Marilyn" tells the story of Colin Clark (Eddie Redmayne), a young man recently graduated from University whose greatest desire is to abandon the life of privilege he has with his parents and enter the film industry. To achieve this, Clark moves to London hoping to find a job at Sir Laurence Olivier's (Kenneth Branagh) production company. Thanks to his perseverance, Clark wins the support of Olivier's wife, Vivien Leigh (Julia Ormond), and his first assignment is to find a house for the star of Olivier's next film: Marilyn Monroe (Michelle Williams). Winning the job of third assistant director, Clark enters the world of cinema, finding himself in the middle of the whirlwind that is the shooting of a movie, where he discovers a different side of Marilyn, one rarely seen by her fans: a fragile and insecure Marilyn who tries to win respect as an actress by facing the royalty of British cinema.

With a screenplay adapted by Adrian Hodges, "My Week with Marilyn" in a way tells two stories at once: the coming of age story of young Colin Clark as he enters the film industry, and the struggle of Marilyn Monroe against the world, against Laurence Olivier, against her fears, against herself. Hodges ties both plots with skill, developing Clark's startup in the industry at the same time that Olivier prepares Marilyn's coming to the United Kingdom. Although, while certainly Hodges offers a pretty interesting perspective of the craftsmanship of filmmaking through Colin Clark's young eyes, in the end it is Marilyn's story what ends up absorbing the other. And this is because Hodges offers a captivating portrait of Marilyn's complex personality. Hodges' Marilyn is a Monroe at the top of her game, she's a star, a goddess, but deep inside, she's still a fragile and insecure actress struggling to win the respect of her colleagues.

A TV veteran (with a filmography that includes popular TV series "Cranford" and one of the better adaptations of Charles Dickens' "David Copperfield"), British director Simon Curtis makes the jump to the big screen with "My Week with Marilyn", in which he revives the moment of the clash between the greatest star of American cinema and the most celebrated actor of the United Kingdom. This clash of personalities, a clash of legends, is the most interesting element in "My Week with Marilyn", because in Curtis' film, the focus isn't exactly in the visual aspect of the movie (though it's worth to point out that the time period is nicely represented), but in his skillful handling of actors. To Curtis, the interest lays in uncovering the human side that's hiding deep inside the film industry, behind the glamour and the make up, and to achieve this, director Simon Curtis has made a movie where the faces, particularly the eyes, speak louder than any any line of dialog.

Naturally, performances become of great importance in this kind of cinema that bases its power in the actor's work, and while there are a couple of tragic exceptions; in general, it can be said that the cast of "My Week with Marilyn" makes a remarkable job. Playing the legendary Marilyn, actress Michelle Williams makes a formidable job in which she brings up the great complexity that her character has. With great talent, Williams revives scenes from "The Prince and the Showgirl", capturing that vibrant magic that Monroe gave to each of her performances, and at the same time, manages to portrait the demons that plagued Marilyn, those that made so difficult for her to create those celebrated performances. Unfortunately, Eddie Redmayne, who plays Colin Clark, is quite below WIlliams' work, delivering a performance so poor that visibly affects the film, as the young actor lacks chemistry with Williams and more than once he looks wooden and weak.

However, Curtis backs himself with a solid supporting cast, where Judi Dench and Emma Watson are specially memorable as, despite having minor roles deliver a first class work of acting. Watson in particular is a more than nice surprise, as she demonstrates that without a doubt she was the more gifted amongst the young cast of the "Harry Potter" series. It's kind of sad that Curtis had not been able to bring out of Redmayne a better performance, as even when he's playing the lead character he ends up easily overshadowed by other cast members. Curiously, this makes an even greater problem to become obvious: captivated by Marilyn's alluring persona, Hodges' screenplay almost leaves totally aside the story of Colin Clark, which ends up like a mere excuse to introduce Marilyn's inner conflicts, where the true soul of the story really is. In a way, this isn't really strange, as after all, she's not any actress, she's the one and only Marilyn Monroe.

In the end, "My week with Marilyn" is a nice exploration of the great cinema icon, Marilyn Monroe, which offers a superb performance by Michelle Williams. It's a real pity that said performance doesn't find echo in a good counterpart from Redmayne, but at least it's surrounded by a group of wonderful supporting actors. While traditional in his vision, Simon's Curts's work allows his cast to show their talents, which is translated in a movie that even when deals with the stuff that dreams are made of, it still very human.In fact, it's this great humanity what sets it apart from other biopics about Monroe, making of this a films that, while imperfect, it's still quite enjoyable. Specially if one's seduced by the magic of the legendary blonde.

7/10
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Milk (2008)

On January 8, 1978, American politician Harvey Milk made history when he became the first openly gay man to be elected to public office in California as a member of the San Francisco Board of Supervisors. Tragically, Milk could only serve 11 months in office, being assassinated along Mayor George Moscone by recently resigned city supervisor Dan White, on November 27, 1978. But even when Milk's time at the office was brief, his legacy is enormous and his work as gay rights activist continues to this day as Milk has become one of the major icons of the gay rights movement in San Francisco. Naturally, Milk's life was the perfect material for making a biographical film, with two projects about Milk arising in the 90s: "The Mayor of Castro Street" by Oliver Stone, and "Milk" by Gus Van Sant. Both struggled in development hell through the decade, facing changes of cast, crew, and even strikes. In the end, Gus Van Sant's "Milk" survived, and with Sean Penn in the title role, was released the day before the 30th anniversary of the Moscone–Milk assassinations.

"Milk" chronicles the rise of Harvey Milk's political career from his arrival to San Francisco to his final days at the office. The movie begins with Harvey Milk (Sean Penn) living in New York dissatisfied with his life on the eve of his 40th birthday. After meeting young Scott Smith (James Franco), both men decide to move to San Francisco, California. In the Castro District of the city they open "Castro Camera", but they find more oppression in their new home town, resulting in frustration for Milk. However, this and other injustices prompted Milk to use his skills as a business man to organize The Castro's gay community and make a real gay rights movement, with his aim set in the position of city supervisor. In politics, Milk finds his true vocation, and makes of the gay rights movement his own personal mission; however, his devotion to the subject begins to take its toll in his relationship with Scott, who after working as Milk's campaign manager gets frustrated by Milk's obsession. Campaign after campaign, the "Mayor of Castro Street" will find many obstacles in his career.

With a script by Dustin Lance Black, "Milk" focuses mainly on the years of Harvey Milk's brief but fruitful political career, chronicling the opposition he found as well as his several successes. Extremely well researched (Black met several of Milk's former aides, such as Cleve Jones), the film remains very faithful to the events in Harvey Milk's life, making the film an extremely detailed biopic about the gay rights activist. It could be said that, in a way, it's also a very typical one, as it follows the rise of Milk's career and covers the milestones in his career. However, what sets "Milk" apart from similar biopics, is that writer Dustin Lance Black manages to make of "Milk" more than a biography of Harvey Milk, as it is also a biography of the movement he started, and of the changes that were taking place in the United States at the time. But the most interesting thing about Black's screenplay, is that it truly achieves what all biographical films try but very few achieve: to become more than a history lesson and really getting the feeling of actually meeting Harvey Milk.

But still, as good as Dustin Lance Black's screenplay for "Milk" is, it would not had been the same if director Gus Van Sant had taken a different route for the film instead of his humanist view on Milk's times. As the story details every step in Milk's life, Van Sant focuses on his humanity, his passions and his obsessions, keeping a constant focus on how the gay rights movement became the purpose of his life, and how it affected those around him. Together with cinematographer Harris Savides, Van Sant creates a very intimate look on the movement from its core, following Milk and his entourage through their triumphs and tragedies with a very realistic touch. Charley Beal's art direction is also worth of praise, as the reconstruction of the atmosphere of 70s San Francisco (specially The Castro) is brilliant. Van Sant's directing of actors is remarkable, and his focus on the people result in a very vivid, natural and realistic representation of Harvey Milk's days, to the point that the camera almost feels like a real witness of those changing times.

Nevertheless, the real star of "Milk" is precisely the man who plays Harvey Milk himself, Sean Penn, who truly embodies Milk's charming persona going beyond mannerisms and imitation to actually transmit the essence of who the American politician was. Penn's portrait of idealist Harvey Milk feels very sincere, very realistic, going beyond the representation of a historical figure by making him a very human character. Granted, Penn had the heavily detailed research by Bland and Van Sant to work with, but still his effort is commendable in how he embodies what's known about Harvey Milk. But Penn's is not the only great performance of the film, as Josh Brolin, who plays Dan White, makes a terrific job in the role of the man who would become Milk's most dangerous adversary. Like Penn, Brolin's benefited by a script that portrays White not as a cartoon monster (which would had been the easy way out), but as a well defined realistic character, as complex and interesting as Harvey Milk himself. Brolin makes the best of it and delivers his best job to date.

The rest of the cast is very effective as well, with Emile Hirsch delivering quite a energetic performance as Milk's protegé Cleve Jones, and James Franco delivering a subtle, melancholic turn as Milk's lover Scott Smith. Diego Luna appears as another of Milk's lovers, the troubled Jack Lira, but Luna's performance is a tad hammy, making of Lira's personal troubles too much of a caricature. Still, the acting is the film's greatest strength, and what really makes the difference between "Milk" and other biopics. Because in my opinion, while Black's screenplay is certainly a remarkable work of research and writing, Van Sant seems to take an easy route and follow it to the letter, making a very by-the-numbers film out of it. I guess Van Sant chose to take a more traditional approach in an effort to keep objective, because that's another thing the film achieves: objectivity. While of course, it's a film done with a very defined political agenda, it remains true to the real events and does its best to remain neutral (it's humanistic portrayal of Dan White being the best example of this).

"Milk" is one of Gus Van Sant's most accessible films, and it's really helpful to understand a bit more no only about the figure of Harvey Milk, but also about the gay rights movement of the 70s. With its excellent screenplay and the powerful performances of Penn and Brolin, it's definitely a remarkably done biographical film (definitely one of the best biopics of the decade). However, it's nothing like Van Sant's more daring and experimental films ("Gerry", "Elephant" or "Paranoid Park" for example), as it basically plays safe and follows the basic conventions of traditional biopics. Nevertheless, the greatest merit of the film is how it manages to create a believable, objective and honest portrait of Harvey Milk and his message of hope.

8/10
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