Watch in HD Yip Man: Jung gik yat jin (2013)
- MOVIE page: Yip Man: Jung gik yat jin (2013)
- Rate: 5.6/10 total 445 votes
- Genre: Action | Biography | Drama
- Runtime: 100 min
- Director: Herman Yau
- Stars: Anthony Wong Chau-Sang, Gillian Chung, Jordan Chan | See full cast and crew
- Original Music By: Chun Hung Mak
- Sound Mix: Dolby Digital
- (in alphabetical order)
- Erica Lee screenplay
Goofs: Anachronisms: Lee King (
Plot: In postwar Hong Kong, legendary Wing Chun grandmaster Ip Man is reluctantly called into action once more... See more » | »
Story: In postwar Hong Kong, legendary Wing Chun grandmaster Ip Man is reluctantly called into action once more, when what begin as simple challenges from rival kung fu styles soon draw him into the dark and dangerous underworld of the Triads. Now, to defend life and honor, he has no choice but to fight one last time ... Written byEmperor Motion Pictures
Produced By:
- Chi-Wai Fung known as line producer
- Catherine Hun known as co-producer
- Cherry Law known as co-producer
- Albert Lee known as executive producer
- Albert Lee known as producer
- Kwok Lam Sin known as executive producer
- Kwok Lam Sin known as producer
- Bak-Ming Wong known as producer
- Albert Yeung known as producer
- Anthony Wong Chau-Sang known as Ip Man
- Gillian Chung known as Chan Sei-mui
- Jordan Chan known as Tang Shing
- Eric Tsang known as Ng Chung
- Marvel Chow known as Wang Dong
- Zhou Chuchu known as Jenny
- Timmy Hung known as Leung Sheung
- Luxia Jiang known as Li Qiong
- Xin Xin Xiong known as Local Dragon
- Ip Chun known as Stall owner with phone
- Anita Yuen known as Cheung Wing-Sing
- Kai Chi Liu known as Lee Yiu-wah
- Cho-lam Wong known as Blind Chan
- Jonathan Wong known as Ni Tang
- Rose Chan
- Kevin Cheng known as young Ip Man
- Queenie Chu known as So Fei
- Zhou Dingyu known as Wong Tung
- Koon-Lan Law known as Lee Yiu-wah's wife
- Ken Lo known as Wei Batian
- Donny Wu known as Wu Zan
- Huangli Xu known as Lee Yiu-wah's daughter
- Songwen Zhang known as Ip Chun
Production Companies:
- National Arts Films Production
- Emperor Motion Pictures
- Pegasus Taihe Entertainment
Yip Man: Jung gik yat jin (2013) Review by moviexclusive from Singapore
Is it too soon for yet another story based on the life of the legendaryWing Chun grandmaster? Well, seeing as how utterly disappointing WongKar Wai's version was, the answer is an empathetic yes. Here to revivehope that there is still much we have yet to see about Ip Man's life isHerman Yau's 'Ip Man: The Final Fight', a sequel of sorts to his muchflashier predecessor 'Ip Man: The Legend is Born' that focuses on thecharacter's middle to later years.
Like Donnie Yen's 'Ip Man 2', this one begins in 1949 as Ip Man(Anthony Wong) arrives in Hong Kong from Foshan to settle into a humbleroom on the roof of a three-storey shophouse. Thanks to a chanceencounter with martial arts enthusiast Leung Sheung (Timmy Hung, betterknown as son of Sammo Hung), Ip gains a small following ofworking-class individuals to start a makeshift Wing Chun school withoutneeding to go against his nature to advertise his craft.
It might seem like a motley crew – including a policeman (Jordan Chan),a seamstress and union activist (Jiang Luxia), a waitress at a dim-sumrestaurant (Gillian Chung), a prison officer (Marvel Chow) and a tramdriver – but there's no denying their passion to learn, and at least atthe start, how close-knit a group they make. Yet the circumstances thendon't make it any easier for Ip nor for his students, and it is fromcasting the fates of Ip and his disciples against a constantly evolvingbut always tumultuous Hong Kong in the 1950s to 1970s that Yau's filmtruly comes alive.
Similarities to Alex Law's 'Echoes of the Rainbow' are not unjustified,since Yau clearly evokes the same sense of nostalgia for the periodduring which the former was also set. Expertly weaving severaldisparate themes, screenwriter Erica Li deftly paints a vivid pictureof a colony rocked by tensions between the unions and their companies,infighting between the various martial arts schools, corruption of thelocal police and most importantly, the struggle of ordinary folk tomake ends meet and provide for their family.
Li draws on these real-life historical contexts to delineate the fatesof Ip and his disciples, in particular that of Tang Sing (Chan) andWong Tung (Chow). Among the disciples, Tang Sing's character is themost fully-fleshed, depicted as a good man caught in a moral crisisbetween following his conscience (as Ip advises) and the temptations ofpower and money in his position of authority. Tang's choice to sidewith the infamous kingpin named Dragon (Xiong Xin Xin) behind many ofthe illegal activities taking place inside the notorious Kowloon WalledCity inevitably entwines Wong Tung, and by extension the entire Ip Manclan that culminates in the titular showdown.
That finale is but one of four thrilling action setpieces, and easilythe most gripping and exhilarating one. First within the confines of anillegal boxing ring in a warehouse and then along the exteriorwindswept alley battered by the onslaught of an imminent typhoon,action choreographers Li Chung Chi and Checkley Sin let the climacticfight between Ip Man and Dragon play out – the joy here not solelybeing from seeing veteran martial arts actor Xiong Xin Xin show off hisimpressive moves, but also from how Anthony Wong's one-year training inWing Chun has truly paid off. Of course, that is also apparent from theearlier sequences, in particular one in which Ip Man squares off in afriendly closed-door bout with rival 'White Crane' master Ng Chun(comedian Eric Tsang in a fantastic cameo that shows off his agilityquite certainly honed from his former days as a stuntman).
Besides demonstrating a facet of Anthony Wong's acting repertoire thatis rarely seen (fun fact – the man is a dedicated practitioner of the'Monkey Fist' style), this portrayal of Ip Man also benefits from thedramatic skills of arguably one of the best actors in Hong Kong cinematoday. While Tony Leung's was just like any other of his from otherWong Kar Wai collaborations and Donnie Yen's was probably more stageythan who Ip Man was in real life, Wong's depiction is – we dare say –the most nuanced that captures both the man's humble dispositions andhis internal struggles.
The latter is also thanks to a multi-layered script that doesn't justdwell on the aspects of Ip Man's life that pertain to his martialartistry, but also his personal life in relation to his wife Yong Cheng(Anita Yuen) and his son (Mainland actor Zhang Song Wen). The first IpMan film so far to pay due attention to what must have been one of hisgreatest regrets spending the large part of his postwar years apartfrom wife and son, it just as poignantly reveals his gentle affectionfor a Shanghainese songstress Jenny (Zhou Chuchu) - despite the veiledobjections of his students - that again finds closure in death. Wong isabsolutely brilliant in these intimate moments of Ip Man's life, andit's hard to imagine a more befitting actor here to play the role.
In choosing to illuminate the less ostentatious but more relatablecharacteristics of Ip Man's twilight years, Yau's film truly standsapart from the other four films that have come before it. Lessconcerned about the legend than the Man behind it, 'Ip Man: The FinalFight' is the most heartfelt one yet about him, with an assured andsensitive directorial hand from Yau guiding a well-written script and aterrific lead performance by Anthony Wong as well as fine supportingacts from Jordan Chan, Eric Tsang and Chuchu. Even though it doesn'thave Donnie Yen's star power or the marquee names of Wong Kar Wai andTony Leung, this is a beautiful film that offers a well-balancedperspective of Ip Man's later years against the rich backdrop ofpost-World War II Hong Kong
Yip Man: Jung gik yat jin (2013) Review by DICK STEEL from Singapore
Herman Yau's films have got its bragging rights, having Ip Man's ownson Ip Chun involved with the production, not only in making cameoappearances, but providing story input to paint a more dramatic pictureof the subject. And it couldn't get more authentic than this, even withartistic license obviously taken at some points. And if you were toextrapolate them, then you'd see shades of the rest of the other filmsthat seem to tangent off important plot points. Things such asunderground fighting rings, corrupt cops, battling with othergrandmasters, setting up shop, and tales of rash disciples all have itsair time here as well, and this one offered a lot more than the othersbecause it's now a snapshot of a time that the rest hasn't, andprobably will not, cover. This is Ip Man in his later days when BruceLee was beginning to make a name for himself in the USA, and chroniclesthe life and times, filled with its fair share of ups, downs, momentsof pride and that tragic sense of loss, that comes with ageing, with alot more focus on his group of disciples as much as it is about IpMan's personal life.
The surprise is of course Yau teaming up with his one time iconiccollaborator Anthony Wong, who together have made classical CategoryIII films in The Untold Story and Ebola Syndrome. Here, they reunite tobring a kung fu master to life, and a biographical one at that, andgoing by the trailers, Wong is no pushover as he executes the Wing Chunmoves with grace and ferocity, with little that betrays the use of astuntperson or wires to help make his a lot more graceful. What workshere in the fight department is the awesome choreography that doesjustice to both the martial arts and the actor, obviously havingtrained for it, to execute the moves with as much authenticity aspossible.
Action sequences may be limited in quantity given Herman Yau's andErica Lee's story focused on the more dramatic moments, andrelationships that Ip Man has with his wife (Anita Yuen), a songstress(Zhou Chu Chu) and his many disciples, but more than made up for it interms of quality. Cinematography in action films are key in eitherwanting to play the cheat sheet with quick cuts and edits, with eitherfaraway or tight shots to hide the stuntperson, but this one is doneperfectly well to show off the cast members' moves and intensity oftheir blows, and does its action choreography justice, which for amartial arts film, matters most. Besides some speeding up detected, itdoesn't have over the top style, but kept things as simple as WingChun's philosophy, and that battle between Ip Man and Master Ng (EricTsang) remains one of the best in this movie, and dare I mention alsoranks as one of the best amongst the rest of the Ip Man films puttogether.
If there's a downside to this, it's the issue of having too manycharacters jam packed into this less than two hour story. There's awhole host of disciples that Ip Man had recruited, and while screentime is dedicated to these characters, their development was fleetingat best. Headlining the disciples were the likes of Gillian Chungchalking up her resume in her recent comeback, but her role was rote atbest, with her relatively less well known stars given more screen timeinstead. Jordan Chan is the other famous headliner for the film,starring as Ip Man's disciple and a policeman, caught up with moralissues as his profession brings about opportunities for corruption atthe time, and how he struggled with this moral dilemma. But it's notmuch of a struggle as it turned out, although the narrative steeredclear on passing any judgement or ending on the character, except toremind that he was an important source of income to keep things going.Zhou Chu Chu as the songstress provided a promise of a romance thatwasn't much, but this love story has its shades in Wong Kar-Wai's epicin being a love that could have been, told in a very different fashionhere.
The opening film of this year's Hong Kong International Film Festival,with that territory comes a certain guarantee that this has to live upto its honor with high production values, which was a plus point as the50s and 60s Hong Kong got recreated both in terms of external sets andinterior art direction and production to transport the audience into anera long gone. Giving it some artistic credibility is how the narrativeblended with the history of Hong Kong as a background, making it asmuch of a historical epic of the colony at the time as it is about thestory of Ip Man's advancing years in life. Still, as part of the Ip Manmovie canon, The Final Fight has its moments, and even if you're jadedfrom too many films about the grandmaster in such a short duration oftime, this movie still has what it takes to offer audiences a differentaspect yet to be seen of Ip Man, with its Wing Chun moves and fightsbeing the icing on the cake. Recommended!
Yip Man: Jung gik yat jin (2013) Review by Harry T. Yung (harry_tk_yung@yahoo.com) from Hong Kong
Of all the films in recent years based on Wing Chun Grand Master IpMan, this one is by far the most authentic. The reason is simple andnot just because it is made with the help and full endorsement of hisson. There is an even more logical reason. Grand Master Ip made hisname in Hong Kong when he started teaching Wing Chun, at middle age.This the exact starting point of this film whereas the others all focusprimarily, or even entirely, on the earlier Ip Man, of whom little isknown. These other attempts, therefore, freely resort to melodrama forentertainment effect. "Final fight" is an authentic biopic on thesecond half of the Grand Master's life. On the macro side, this is alsoa trip of nostalgia for people who lived in Hong Kong in the 50s and60s.
The screenplay was penned by talented Erica Lee, who is also author,columnist, lyricist, singer, radio program host, and a mother of twolovely daughters. Wong Chau-sang's portrayal of Grand Master Ip isbrilliantly convincing. Wing Chun style is not hard to replicate onscreen but difficult to master in reality. All the actors in these IpMan films have done a decent job as far as what appears on screen isconcerned, and let's leave it at that. Mush more important is toportray the low-profile, unassuming grand master who rises to theoccasion every time when needed to. He is also patience, compassionate,tolerant, while unflinchingly uncompromising when it comes to mattersof fundamental principles. I cannot think of any actor who could havedone this as well as Wong Chau-Sang who is a grandmaster in his ownright when it comes to performing arts, be it on stage or on screen.
The support cast also well deserves recognition, and the names Imention here will be far fewer than the ones I've omitted. The best isEric Tsang's, not just a top-notch comedian but also an excellentall-round actor, who plays Ng, the grandmaster of the White Cranestyle, a rival as well as a mutual admirer. People familiar with HongKong's TV entertainment would also enjoy his witty self-referencing tohis popular TV show during a scene in which he commiserates with Ip thepredicaments behind the glory of being the master of a martial artschool. Jordan Chan provides good support in playing Ip's student Tang,who started out as an entry level cop and eventually rising to a"Chinese-ethnic chief detective". The character is modeled after areal-life individual, with the given name slightly changed. There is atleast another dozen if I were to name them all. Two that I would liketo mention, however, are mere cameos that have the least screen time:Liu Kai-Chi whom many consider Hong Kong's best character actor and LawKoon-Lan who is among Hong Kong's top stage actresses. They play acouple driven by poverty to sell one of their six children.
Final remark: this reviewer had the great honour of shaking GrandMaster Ip's hand in one of his birthday banquets in the late 60s.
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