Ip Man is a 2009 film Very Loosely Based On the life of Bruce Lee's eponymous master.Foshan in 1930s China is a place renowned for the number of martial arts schools in it, with the exception of the titular hero who wishes not to take in any disciples. When a troupe of upstart Northerners successfully beats up the other masters, though, it falls on Ip Man to defend Foshan's honor.Fast forward to 1937, when the Japanese invade China. His mansion confiscated by the Japanese, Ip Man is forced to shovel coal to feed his family and learns of matches the Japanese are staging between their karate exponents and Foshan's former martial arts masters. When a friend's failure costs him his life, Ip Man's vengeful demolishing of ten Japanese pugilists draws the attention of the Japanese General Miura. Ip wants no more of it, but when a group of bandits threaten a friend's factory, some of whom are all too familiar, it starts a series of events that spiral to a final confrontation between Ip and Miura.If you are looking for an in-depth biography of the master of Bruce Lee, you are looking in the wrong place. If you are looking for a great martial arts flick with exceedingly tight choreography and likeable characters, you are in the right spot.A sequel has been released end-April 2010 (very close to the UK release for another "IM2"), focusing on Ip Man's attempt to propagate Wing Chun in Hong Kong after the war. In doing so, he finds opposition from other martial arts masters as well as the British.A "prequel," The Legend is Born, that doesn't even really qualify for In Name Only status sometimes gets lumped into this franchise, due to the reuse of a number of actors from the first two films. It should be clear though, that this movie is not related to any of the Ip Man movies made by Wilson Yip.Thankfully, A Third Movie, to be released in 3D is in development, starring Donnie Yen one last time as Ip Man is due for a 2013 release, will bring a proper conclusion to the Trilogy.Note for Western readers: The character name is rendered in traditional Chinese style, so "Ip" is the surname. Additionally, it is not a superhero name. Please do not be confused.
This film and its sequel provide examples of:
All-Loving Hero: Ip Man himself. He's forgiving, kind, and though he can kick your ass, he won't without a good reason. And he won't gloat and even though you insisted on fighting him and were thoroughly humiliated, he'll go out of his way to hide this from the populace.
Arrogant Kung-Fu Guy: Pretty much every martial artist, with Ip Man being a notable exception. Best examples being General Miura, a Four-Star Badass with Blood Knight tendencies, and Twister, an utterly vicious Western boxer. Also notable is Wong Leung, who grows out of it after some hard lessons.
Artistic License - Gun Safety: The cop who pulls out a revolver in the first movie points it directly in Ip's face. Thankfully, Ip disarms him before something goes terribly wrong. Interestingly, Ip blocks the hammer and trigger, then pops out the cylinder of the revolver, showing that he has some basic knowledge of firearms.
Asskicking Pose: True to genre convention, all the martial artists in the movies assume one before fighting. Somewhat Truth in Television, as most martial arts have a default 'ready' stance.
Authority Equals Asskicking: General Miura throws down with three guys in his first appearance and takes them down without much fuss. Ultimately he is the only one who actually manages to land real hits on our hero.
Blood Knight: General Miura's character is defined by a desire to pit the Chinese martial arts against his Japanese karate.
Twister in the second only cares about fighting and proving his superiority, showing pretty much all of the negative connotations (propensity for violence, anger, arrogance) but none of the relatively positive traits (honor, respect for his opponents).
Chekhov's Gun: Sato's actual gun. Used first to kill Liu, then to play "bang bang" with Ip Man's son, then to threaten Ip Man, then to shoot Ip Man, then Li Zhao turns it on him.
China Wins The War: The closing narration of the first movie describes China's defeat of Japan without mentioning the involvement of other Allied nations, including the atomic bombs, the Soviet invasion of Japanese-held China, or the American occupation of Japan.
Colonel Badass: Averted with Sato, who most definitely is not cool. Miura, on the other hand, is a Four-Star Badass and textbook example of the noble Samurai Warrior.
Combat Pragmatist: A number of characters, not least the titular hero, who can easily go from smiling genially like the nice guy he is outside combat to kicking your joints in and raining Rapid-Fire Fisticuffs on your face and head. Subverted with Zealot Lin. The sequel takes Ip's Pragmatism to another level. Twister is also a Pragmatist, doing things like repeatedly slugging Master Hung in the face when he refuses to let go of the rope or hitting Ip just as the bell rings.
Ip learned his pragmatism the hard way. It took a forced 180-split from an elderly medicine seller to teach him that improvisation was acceptable in Wing Chun.
Comforting Comforter: In one scene Ip Man is shown draping a blanket over the shoulders of his sleeping wife and son.
Conservation of Ninjutsu: Both played straight and averted, where both the titular hero and General Miura can throw down with multiple opponents with ease but Master Liu, who had been winning at the one-on-one Japanese-staged matches, tries to take on three at once and gets his ass handed to him.
Curb-Stomp Battle: Most of the fights in that the titular character is in. The film was explicitly meant to glorify him and be all nationalistic, though, plus the choreography is superb, avoiding any potential boredom. The opponents he Curb Stomps usually were Curb Stomping their opponents before he shows up, also helping to reduce the boredom and make the wins more impressive. An arguably deliberate Lampshade Hanging occurs in the final fight against General Miura, where Ip Man caps off by pinning the other guy against a pole and going to town while scenes of his practice on a training dummy are interposed.
David Versus Goliath: Ip Man versus the Twister in the second film is this very straight. The Hero may have got his Badass cred down pat earlier, but the Twister is not only physically larger, he had destroyed the Old Master who fought Ip to a draw and gleefully beat him to death in cold blood, so there is a definite underdog vibe.
Even Evil Has Standards: General Miura isn't pleased with Colonel Sato murdering Chinese Warriors who lose in the daily bouts for food:
Miura: This dojo is a place of Martial Spirit, this (Holds Pistol to Sato's treacherous head) has no place here; never bring it here again. Have I made myself clear!!"
Evil Brit: Twister and the brutal policeman in the sequel were. Seems that being evil is a prerequisite to being a brit, which is a stark contrast to the Politically Correct History that's often portrayed. To be fair, there are pretty heavy doses of Accentuate the Negative in the Hong Kong segments. The British certainly were NOT that enlightened or innocent as is often portrayed, but a lot of the scenes in the film (particularly the copious officially-sanctioned use of Police Brutality to intimidate dissidents) dates back far before the film is set after said issues had been largely cleaned up (by WWII the British realized it was not a good idea to needlessly provoke their Chinese allies when both the KMT and CCP were calling for annexation and they themselves were heavily dependent on the anti-Colonial US for support, and even as early as the turn of the century police corruption on the scale we see in the film- particularly involving violence- was met with jail or worse). However, in this case, one may well say that Some Anvils Need to Be Dropped.
Also, it's implied that their British superiors weren't aware of the level of corruption and brutality, and bringing it to their attention is enough to get the head of the police fired. (Not that they particularly care about the Chinese, they just don't think it's appropriate behavior.)
Extremity Extremist: Invoked in the second film, where the British make kicking against the rules after Twister takes a few good hits.
Flexible Tourney Rules: When Ip Man starts to win against Twister, the bloodthirsty Chinese-bullying british boxer, the referees "suddenly" remember that you're not suppose to kick in western boxing matches and call Ip Man on it; something they didn't bother to call Master Hung on in the last match when Twister was beating the sick and elderly Chinese Warrior to death.
Foregone Conclusion: Everyone watching the sequel already knows that he would survive the Japanese invasion of China and become Bruce Lee's martial arts master. Ip will also definitely have to prevail against the Twister in the second.
Henpecked Husband: Jin accused Ip of being one when he refused to fight him in his house.
Oh the irony, Jin himself becomes one in the second movie, but to his credit he is also a loving husband and father.
Honor Before Reason: Ip Man himself obviously, and surprisingly enough Miura, who honors the code of the warrior even towards his Chinese enemies.
Ip rejecting the ten bags of rice after destroying the ten black belts. While he was obviously trying to make a point, as well as avenge Master Liu's death, you have to wonder just how many of his people Ip could've fed with all that rice.
In the sequel, Master Hung offers protecting the honour of Chinese martial arts as the reason why he does not back down against the Twister.
Hot-Blooded: Zealot Lin in the first movie, Wong Leung in the second.
Improvised Weapon: Ip Man defeats a sword-wielding opponent with his wife's feather duster. He takes on Jin again later on with a long bamboo pole. In the sequel, he uses even more of these, such as wooden pallets and baskets/trays.
Invulnerable Knuckles: Averted; Ip's knuckles are clearly bruised after he finishes dealing with the Japanese pugilists.
Irony: With all its anti-Japanese sentiments, the heart-stirring theme of the film, swelling with Chinese pride is composed by Japanese composer Kenji Kawai, famous for his unforgettable musical scores for the Ghost in the Shell films and the Anime adaptation of the Visual NovelFate/stay night.
Jerk with a Heart of Gold: In the first movie, Li, the police captain, exhibits this. His first scene in the movie consists of him denigrating Kung Fu and its practitioners, and when the Japanese arrive, he willingly serves as their interpreter, which includes persuading his fellow Chinese to take part in sparring matches against the Japanese (which is shown to result in the occasional Chinese death or humiliation). Ip Man even calls him out for being so willing to help the invading Japanese. Then, it's shown later, he's using what he gets from his interpreter job to support his family, and is likely to be the only one able to do so (the other shown members of said family are all elderly, children/late adolescent at most, or crippled). Not to mention, he hides Ip Man and his family from General Miura, and kills Colonel Sato for shooting Ip.
Karma Houdini: Jin. In the first film he begins as an Arrogant Kung-Fu Guy incarnate, becomes a bandit, and then sells out the location of Ip Man to the Japanese. In the sequel, he's treated as an old friend and is seen happily married with a child.
Then again, he is also deaf in one ear and his first scene in the second movie consists of him helping Ip Man.
And in Ip Man 2 Twister was not killed, or even at-least crippled, for killing Master Hung and destroying his school.
Karmic Death: The cruel Japanese Colonel Sato, who had shot Master Liu to death earlier for losing against Japanese fighters, eventually gets killed by a shot from his own gun after it is wrestled away from him. By Li Zhao, who he had smacked around for no good reason.
Kung-Shui: Jin smashes up some of Ip's stuff while the latter is merely dodging, before his son comes in, conveying a message from his wife to get serious. Ip does and prevents any more vases from getting broken.
In a deleted scene his fellow villagers beat him to death for being a sell-out after he kills Sato.
"Fatso" for the British in the second movie. Like Li Zhao, he ends up betraying his boss and helps the Chinese.
Lightning Bruiser: The Twister can take and dish it out well while still being fast enough to keep up with Master Hung and Ip.
Lowered Monster Difficulty: Look closely at how the Japanese pugilists fighting Ip Man act, compared to those fighting Master Liu.
Also, they've had longer to see how Liu fights, which probably gave them a slight advantage. Not to mention, the points where Liu starts getting his ass kicked are when he tries certain moves that, while useful against a lone opponent, leave him completely defenseless against the other two black-belts (specifically, those couple different grabs that he tries).
Martial Arts Do Not Work That Way: Subverted. Ip's Wing Chun generally eschews showboating and kicks much ass, while more showy pugilists don't fare well, and the toughest opponent thus far is the Twister, who sticks to boxing.
Played straight in Ip Man's subsequent fight against ten men. While it's difficult to fight effectively with a group that large, they certainly go down easier than the ones that fought Master Liu, and as a whole seem to wait their turn to go down with little effort. Though once their ranks thin, they do get a bit better.
Necessary Evil: Master Hung in the sequel. He is something of a Jerkass and Opposing Sports Team to Ip Man early on, but it quickly becomes apparent that his rules, fees, and attitude are necessary for the martial arts schools to remain afloat under British rule.
It does help. As adept as Ip is at taking guys down, a competent opponent with a sword is a lot harder to get close to for a decent hit rather than an unarmed one. The solution? Extend his own reach with an impromptu weapon, even if it is a feather duster. Really the main issue here was how far he could go to score a hit and he knew that based on his style, he probably would expend more energy trying to land it and risk getting hit than just grabbing something.
Noble Demon: Miura, who is more motivated by patriotism in his viciousness than sadism like his cowardly-subordinate Sato, shows respect towards his Chinese enemies, and is in his own brutal way an honorable, traditional Japanese Warrior.
No-Holds-Barred Beatdown: Liberally used by the Japanese. The film doesn't bother hiding its nationalism. Two specific examples are Master Liu getting thrashed by three Japanese pugilists and Ip Man going to town on General Miura. Two examples in the sequal are Twister beating Master Hung to death, and Ip Man thrashing Twister's face towards the end of the final fight.
Really, almost every fight in the first movie is incredibly one-sided leading to one of these... the only time it's averted is when the beatdown-er is a goddamn saint (... AKA Ip Man when he's not severely pissed off).
Obfuscating Stupidity: Ip Man generally avoids direct confrontations and attempts to pass this onto his students.
Ip Man: The best way to deal with it is to not fight at all.
Wong Leung: What happens if they have weapons?
Ip Man: (Briefly chuckles) Run.
I wouldn't call that stupidity. Quite the contrary, in fact.
The part about running is at least Truth in Television, in a way - some Wing Chun masters tell their students to, essentially, run away whenever weapons are brought into a fight. (Guns are a different matter, though.)
Old Master: Deconstructed with Master Hung, as exhaustion starts setting in during the match against Twister.
Also discussed by Ip Man himself, who tells a student that no matter how good he is, his abilities will degrade with age.
Perspective Flip: An early part of both films involves a newcomer challenging established martial arts masters. Thing is? In the first film it's a villain doing so, who Ip puts in place. In the second, it's Ip himself who's the outsider. Pity that it was never commented on.
Police Brutality: In the second film, a British policeman beats on editor-in-chief Kan.
Averted when it comes to foreign behavior; the first film doesn't try to whitewash wartime Japanese behaviour, while the second doesn't shy from depicting Western racism.
Played straight in other instances. To be more Communist-friendly, the first film does not mention that Ip Man was a Kuomintang supporter who left for Hong Kong to escape the Communists, not the Japanese.
Truth in Television - kinda. Linking multiple straight punches in quick succession - also known as chain punching - is one of the cornerstones of Wing Chun, the southern Chinese martial art of which the Real Life Ip Man was a master. However, in practice students are advised to keep it to short bursts: it's impossible to maintain the initial striking power beyond a certain point (not to mention the risk of interruption), and to prolong it further is dangerous and impractical.
They should also be taught not to use it as an entry technique. It's possibly one of the worst ways of closing distance and entering an opponent's guard short of putting your hands in your pockets and running forward with your chin out.
Reality Ensues: Ip Man beats Miura and stands around dramatically while thinking about the cost of the war. Then he is shot. This is a particularly good example, since the film made it very clear that Ip would be killed if he didn't throw the match, even showing Sato's hand edging towards his holster in the middle of the fight.
Real Men Wear Pink: At one point, Wing Chun is made fun of for being feminine. Without any shame, Ip Man admits that Wing Chun was invented by a woman.
Ring Out: The final fight against General Miura is on a raised platform with this as a defeat condition. In the sequel, Ip has to face the Hong Kong-based masters on a table, with getting off it as a defeat condition.
Rival Turned Evil: While he and Ip Man never became friends until the sequel, Jin descended from martial artist rivalry to becoming a bandit and later selling Ip Man's last known whereabouts to the Japanese.
So Last Season: Beating up ten Japanese karate experts and a general is nothing compared to fighting a showy British boxer.
Tactful Translation: After Ip Man beats up the ten Karate black belts and tells off the general, the translator gives the general a much more polite version of Ip Man's words.
Tap on the Head: Both used and averted, as many mooks go down from a single strike to the head, but named characters are more resilient
Somewhat justified - most of the mooks aren't (or, at least, aren't exceptionally) skilled martial artists, and as such, aren't trained as well in being able to continue fighting after getting hit (which does constitute part of any martial arts training regiment), especially after hard hits to places like the neck, face, and chest (as is Ip Man's target every other hit or so). Those that are, however, do take quite the punishment before going down - Ip Man either has to severely beat, or outright break the limbs of almost all the Japanese black belts in the 10-on-1 fight, for example.
Those Two Guys: In IM 2, there's a pair of martial arts masters whose main role is to sit together and comment about the fights they're watching. They mock Ip Man during his "tryout" for the Hong Kong martial arts society and cheer him on when he's fighting Twister.
Too Dumb to Live: You will say to yourself "No! Don't do that, you idiot!" when Zealot Lin decides to make a final attempt to attack Miura while his back is turned after their matched had been clearly finished, I guarantee it. At this point Lin was battered, bruised and likely internally bleeding, and he barely stood a chance against him when he was fresh. In the sequel, Master Hong refusing to quit when he was clearly going to be beaten to death may qualify as well, though it is more Honor Before Reason.
Took a Level in Badass: Subverted. The son of the mill owner seems confident about his fighting skills after being trained by Ip Man. However that feeling doesn't last long when facing Jin's gang in combat.
Translation Convention: In the Cantonese dub, Foshaners speak Cantonese while Jin's Northerners speak Mandarin. In the Mandarin dub, both groups of Chinese speak Mandarin. However, Japanese speak uninterpreted Japanese.
Trash Talk: The Twister mouths off about his perception on the supposedly inferiority of Chinese martial arts a lot. A LOT.
Warrior Therapist: Ip Man becomes this accidentally. Between the first and second films, his friend Zhou Qing Quan loses his memory after being shot in the head by the Japanese. Zhou regains his memory after listening to Ip Man's match with Twister on the radio.
Whole Plot Reference: Both films are very similar to Rocky IV. A fighter from an enemy nation shows up on the hero's home turf. The hero's rival-turned-friend gets killed in a match. The hero avenges the death in the ring without killing his opponent. Ip Man 2 even ends with the beaten up hero giving a speech on peace and tolerance, getting applause from his opponent's fans.
Ip Man 2 also draws heavily from Akira Kurosawa's Zoku Sugata Sanshiro, specifically the plotline with the Eastern marial arts master (Japanese Judo in the Kurosawa film, Chinese Wing Chun in Ip Man 2) taking on a Western boxer in a public match after a previous practitioner had been defeated.
You Look Familiar: Both Sammo Hung and Louis Fan play different roles in the trilogy. Sammo plays Hung Chun-nam, a rival teacher in the sequel, while in the third movie, he plays Chan Wah-shun, one of Ip's kung fu teachers. Louis Fan plays the northern fighter/bandit/husband Jin Shanzhao in the first two movies, while in the third, he plays Ip's adopted brother/Japanese spy Ip Tin-chi/Tanaka Eiketsu.
Don't forget Dennis To who played Jin Shanzhao's henchman in the first film, then he played the gang leader and student of Hung Chun-nam in the second film, and finally he played the young Ip Man himself in the third film.
Ironically, both characters which Sammo Hung plays have asthma.