This is one way in which technology can preserve traditions for future generations! Welcome to the new way of producing Kung Fu ( or any art) manuals. While there is no substitute for an actual teacher this is a great way to chronicle the arts. Thoughts?
“Shaolin Soccer is a 2001 Hong Kong martial arts sports comedy film co-written and directed by Stephen Chow, who also stars in the lead role. A former Shaolin monk reunites his five brothers, years after their master’s death, to apply their superhuman martial arts skills to play soccer and bring Shaolin kung fu to the masses.” [x][x]
Mr. Meyers considered her legacy. “She didn’t have the ego of Bruce Lee,” he said. “He didn’t feel justified unless he was a star. She didn’t need that. She left Hong Kong on her own terms. She was a pioneer unconcerned with her own stardom.”
May Joseph, a professor at Pratt Institute who wrote an essay about Ms. Mao as a feminist hero, encapsulated her influence this way: “She was a radical feminist cinematic presence before there was a language for that,” she wrote in an email. “She is the Lauren Bacall of kung fu.”
Ms. Mao, however, bristled at grandiose notions about her legacy; she was not interested in hearing that she had become the subject of feminist literature.
“This is not a gender situation,” she said with a baffled expression. “I just played myself. I am strong and I am powerful. That is how I became the most important female kung fu actress of my time.”
It’s not often that anything to d with kung fu cinema gets me teary eyed, but this was pretty damn beautiful. Jackie Chan is reunited with his original stunt team on Hong Kong television and it’s a massively emotional affair. these are the guys that helped him make his kung fu classics: “Police Story”, “Project A” etc. You might even recognize a few of their faces. Well, while Jackie watches a video homage from his old crew, he doesn’t realize that they’re assembling behind him. It’s pretty awesome. Granted, it’s all in Chinese but I think it transcends the language barrier. The emotions speak for themselves.
“My father would always say, people who practice martial arts go through three stages: seeing yourself, seeing the world, seeing all living beings.”
Based on the life story of wing chun master Ip Man, The Grandmaster is an award-winning Hong Kong-Chinese martial arts drama starring Tony Leung as Ip Man and Zhang Ziyi as Gong Er. The film encapsulates Ip Man’s life, from his peaceful marriage in Foshan to his escape to Hong Kong after the Second Sino-Japanese War and rounding out with his founding of a successful martial arts school.
The Grandmaster can be considered an unorthodox action film. Rather than focus solely on the commercial thrill of violence, it depicts wing chun as an art of caution and intelligence and the personal battles of morality that define true fighting. For instance, when Ip Man challenges the martial arts grandmaster Gong Yutian, they engage in a battle of philosophy and wits, not fists. Ip Man is later challenged by Gong’s daughter, Gong Er, and the two clash in a fight of delicacy and precision, with the terms that whoever breaks a piece of furniture during the fight loses. Gong Er’s grapple with the values behind fighting insidiously tainted by wartime’s sprawling fear is front and center in the film. Wong showcases Ip Man’s intellectual and spiritual prowess, underscoring the thoughtful fluidity lurking beneath each swift movement.
In terms of production, The Grandmaster is known for having an extensive development time. Leung reportedly spent years training in wing chun for this movie and broke his arm in the process. The Grandmaster is Wong’s most expensive production to date, and Wong cites the quickly expanding Chinese film industry as the impetus driving the dissemination of more structurally advanced Sino features around the world.
“They say I spread wing chun throughout the world. I hope that’s true. I didn’t do it to acquire renown. The martial arts should be open to all, everyone should walk the same route. It all comes down to two words: Horizontal, Vertical.”My father would always say, people who practice martial arts go through three stages: seeing yourself, seeing the world, seeing all living beings.”