The Grandmaster

Film Sound Analysis

Abstract:
Wong Kar Way s much-appraised film The Grandmaster about the life and memoirs
of a once great martial arts master, is a downhearted romance punctuated with breath-taking
sequences of gravity-defying martial arts. The sound technique used in the movie provides an
exquisite, rich, enveloping atmosphere that adds impact and realism to the dazzling shots of
the kongfu movements, which otherwise would not be able to fulfill its purpose. Sound
completes the visual impact and becomes an extension to the force of the actors moves and
feelings.
1. Film Profile
Wong Kar Wais much-anticipated historical martial arts epic The Grandmaster,
tells the story of the Ip Man, a real-life Wushu master who founded the Wing Chun school of
martial arts, where the young Bruce Lee first started his career. Light on narrative, but
preserving Wong's characteristic elegance, the film tackles the director's familiar themes of
love, loss and the eroding nature of time around some of the most descriptive martial arts
sequences ever shown in film.
After spending more than twelve years on the idea, five years on the production itself,
and one year solely on its editing, the movie was finally released on 8 January 2013 in China,
in a 130 minutes version, half from its original of 4 hours 1. Although it was criticized for its
inconsistency in tone and lack of the characters development, the movie has definitely a lot to
offer, the films unique score and sound design being among its highlights. 2
The film features several famous names of contemporary Asian cinema, including
Tony Leung starring in the main role of Ip man, Zhang Ziyi as Gong Er- Master Gong's
daughter, Zhang Jin, Wang Qingxiang and Korean actress Song Hye-kyo as the Ip Mans
beautiful , loving wife.
The Grandmaster was the opening film at the 63rd Berlin International Film Festival in
February 20133 and it was also selected as part of the 2013 Hong Kong International Film
Festival4.
2. Short analysys of the dramatic story structure
1

Kevin Jagernauth (12 July 2012). "Yes, Wong Kar-Wai Is Still Shooting 'The Grandmaster'". [Indiewire].

"Wong Kar Wai On Chinas Growth, Kung Fu, Oscar Contenders & Bruce Lee". Deadline.com. One of the reasons I
wanted to make this film at this point is because I think in the last 20 years you can see the growth in China...
3
"WONG Kar Wai's The Grandmaster to open 63rd Berlinale". Berlinale. Retrieved 2012-12-19.
4

"HKIFF Review: The Grandmaster". HK Neo Reviews. Retrieved 2013-04-04.

The Grandmaster is a downhearted romance at heart, but punctuated in this case with
long and painstakingly choreographed sequences of gravity-defying martial arts. The sound
design used in this movie therefore bears the same characteristics of an action movie but also
of a drama movie about the life and memoirs of a once great martial arts master.
The films first half-hour is definitely dedicated to the main character. Set in Foshan,
Ips backstory unfolds with a narration about his childhood and his married life, juxtaposed
with descriptions of a youthful Ip being initiated into martial arts by his teacher Chen Heshun
and then intimate sequences of Ips comfortable family life with his wife Zhang Yongcheng
(Korean actress Song Hye-kyo). Ips voice over then clues the spectator to the Golden
Pavilion, a profligately chosen brothel, which aided as a 1930s version of the saloon in oldschool martial arts films5.
Ip is contracted into a duel with Gong Yutian (Wang Qingxiang), a martial arts master
from northeastern China looking for a last fight (and an affirmation of the authority of his
school over its southern rivals) before he retires. When Ip emerges victorious, Gongs
daughter, Gong Er, challenges Ip to a fight to restore her clans reputation. She satiates her
hunger for victory but also finds herself exposed to another yearning: With her and her
opponent's limbs twisting up all entangled (and some parts of the fight shot beautifully in slow
motion), their passion begin.
But its at this point that Ip withdraws into the background and Gong Er is allowed to
take over. Shifting to her hometown in Japanese-occupied northeastern China in the late
1930s, the story ricochets into play again as Gong Yutian perishes after a conflict with Ma San
(Zhang Jin), his estranged ex-protg. Gong Er swears to retaliate her fathers assassination in
the face of much ridicule from her misogynist elders, who advise her to better marry and bear
children and let things lie down.
In one of their last meetings, Gong divulges to having been once secretly infatuated
with Ip. But its a revelation that leads to nothing. Just as deeply, she also tells Ip about what
her main regret in life is -- that she has yet to see life as it is, and asks Ip to do so on her
behalf.
Ip has survived all to tell the story, though in a isolation shared by many of Wongs
lonely protagonists in his preceding films. Putting Ip in a suit and tie in one of the films final
scenes, one can assume that Wong might be referring to Chau Mo-wan, the fictional 1960s
martial arts novelist whom Leung performs in In the Mood for Love6.
3. Sound design analysis
5

http://www.tonyleung.info/phpBB1/viewtopic.php?t=6620

The Hollywood Reporter, The Grandmaster: Film Review by Clarence Tsui 1/9/2013

The sound in film is composed traditionally of three main parts : voice, music and
sound effects. Voice sound recording is responsible for the dialogue, V.O., and can be both
finished during the actual shooting or in post sync. The use of voice over prevails over the
entire plot. It gives a sense of a characters' subjectivity and narrates the events told in
flashback. Voice Over is used prominently in most films dealing with autobiography,
nostalgia, and literary adaptation. Wong Kar Wai uses voice over to situate the plot in time and
to introduce the subject matter, while also giving an indication of his main character's ideas.
Ips background and life philosophy is illustrated through the characters own
voiceover, often from an omniscient perspective: Dont tell me how deep Gong Fu can be,
how powerful the master is, there are many esoteric sects. Gong Fu- two words:a horizontal,
a vertical. Wrongly lie down, and the standing will have the last word. Some other V.O.
interventions come from the people who meant the most to him: his wife, in no more than a
few nearly-wordless sequences describes her love and hopes of being together: Tomorrow I
will take the children back to the maiden, so you will be less worried. A man over forty should
have a grasp of things. Wait for everything to pass and then come and look for me; Gong Er
who also meditates on the same glory times that were long gone: The so called Big Age is a
choice- you can stay or you can leave. I chose to leave backing the years that belonged to me.
That was my happiest day. The movie plays with the possibilities of using voice-overs,
making it a unique experience. Although the pretext of the story is the life and memories of Ip
Man ()its goal is to offer a general understanding of the philosophical power behind
the martial artists skills.
Scattered with worldly philosophical musings by veteran martial artists, The
Grandmaster may be described concurrently as an effort at biography and a share of sagacity
that lyrically captures the martial arts tradition in which Ip was deeply rooted. Its simply not
always possible for the audience to know what Mr Ip is thinking or feeling. The director is
apparently more preoccupied with the introspective verbal exchanges between his battlehardened warriors.
The music of the film often permeates through the theme of the movie . Wong brought
back Japanese composer Shigeru Umebayashi, who has previously collaborated with him on
the films In the Mood for Love, 2046 and My blueberry nights. Together with
Nathaniel Mchaly and Stefano Lentini, who contributed to this film with his original "Stabat
Mater" for soprano and orchestra, they complement the projects overall atmosphere with a
unique highlight that could have only been completed through sound.
The gorgeous score is complemented by an array of songs and classical pieces ranging
from 1950s canto-pop ballads but it is also quoting Ennio Morricone's theme sound Once
3

Upon A Time in America - another film about people conquered by circumstance, evoked on
numerous occasions throughout.7
Shigerus scores for the action sequences are pitch-perfect in terms of pace: drums and
beats are synchronous with the moves. Many of the early scenes take place in the Golden
Pavilion and some of the brilliant Peking Opera songs are chosen here. In the climax scene,
the music is so subtle, moving and emotional.
The music of the The Grandmaster is very rich in depicting variations of different
the expressions of the theme. In fact, it gives audience the impression that even the smallest
musical moments come from the same classical theme of the movie. Probably we will
remember this movies every story and visual detail, but when we listen to the films musical
rhythm, we will automatically remember the whole movie.
The complex use of multiple sound layering emphasizes the impact of the hits and
punches during the action sequences, making them louder and isolating them from the
background sound. The sound made by the little twists, nudges and arcs where one gathers
power, so specific to each style of Chinese martial arts, are all enhanced, separated from the
background and intensified by folly sounds. It gives them almost a hyperbolic characteristic.
Also the multiple voices and sound effects create a sort of "sonic deep focus". No one
can shoot drops of blood falling into splashes or snowflakes being driven away by the faintest
shake of a hand with quite this director's fainting manner of trance. The strangely muted sound
effects in every one of these gorgeous sequences give a great deal of immediacy and impact.
When the antagonist, a former protg, Ma San (Zhang Jin) makes his first apearance
to dispute his role as the future Grandmaster, the rustling sound of the fist blows, the mirror
breaking to pieces, the clothes stretching and the clinking of glass door marbles are all in the
foreground, occupying the first layer, being the loudest and the clearest. However, the reaction
of those standing in the crowd is reduced to a minimum (1345).
In all Gong Fu related scenes, the director accomplishes its desire to create a pace that
is slow through image, sharp through sound, which becomes powerful and faster than time,
but depicted through a slow motion effect. The different techniques of Wuxia, Gong Fu
styles, would have never reached such a descriptive and poetic extent if they had chosen to use
direct sound. The exacerbated sound of a match stick being lit, the fizzling sound of the thin
smoke vanishing into air, the cigarette lighting up and burning, they are all just some few
examples of the rich variety of audio metaphors and the emblematic use of shuddering slow
motion.

Lee, Maggie (2013-01-08). "The Grandmaster". Variety. Retrieved 2013-01-09.

Some sound effects are recorded in the studio, where experts make use of special props
to create a perfect simulation of one sound. The are also some special sound effects that have
already undergone the craft of the sound recording. And there are those recorded outdoors. At
this time, the sound technician records with higher voice dB, while avoiding noise.
4. Sound Recording Technology Analysis
The film uses both recording and post sync technology. The post sync sound design
also uses two digital sound techniques. These two techniques are the 5.1 DOLBY DIGITAL
SR-D type and DTS type respectively. Using the 5.1 DOLBY DIGITAL SR-D technology to
finish designing the sound for the movie, will use a sync sound. We call it a "single system",
that is, the picture and sound is in the same film copy. This kind of digital surround audio
codec provides rich, enveloping sound that adds impact and realism to the sound design of the
entire movie, which otherwise would not be able to fulfill its purpose of transmitting this
unique experience especially in its dazzling and detailed shots of the kongfu movements.
The benefit of using 5.1 DOLBY DIGITAL SR-D type is that it uses a worldwide
standard in surround sound, compatible with millions of existing systems, also can enable up
to 5.1-channel surround sound for an enveloping audio experience and is compatible with the
most advanced devices featuring Dolby Digital Plus .
While type 6 DTS uses digital recording technology to finish the film its picture-sound
is different. We call it double system", as the picture and sound are not in the same movie
copy. DTS can take stereo content and convert the sound into 5.1 or 6.1 channel format, but in
a 7.1 configuration. Moreover,6 DTS type is a multi-band decoder which can enhance more
than one predominant signal at a time provided each predominant signal lies in a different
frequency band than the others.
5.Conclusion
The Grandmaster remains first and foremost a Wong Kar Wai film, employing a very
slow, deliberate pace throughout and dedicates long periods of time to watching its characters
ponder the great mysteries of life 8, or more often, wallow in their own regrets and missed
opportunities. But this is intermingled by some truly fantastic action, which should delight
kung fu fans and art-house cinephiles alike.
For people who are familiar with the basic concepts of Wing Chun, Baqua, Xingyi and
Bajiquan9, its quite the rare visual treat as bigger movements usually bold better for on screen
fight choreography. However, the movie would have never reached such a descriptive and

Alonso Duralde. "The Grandmaster Review: Sweeping, Gorgeous, Exciting and Butchered Taste of Kung Fu Legend
Ip Man". The Wrap.
9
One of famous martial arts in China with emphasis on skills of combat.

poetic extent if it had not been for the creative use of sound. It completes the visual impact and
it becomes an extension to the force of the actors moves and feelings.
Notes:

Kevin Jagernauth (12 July 2012). "Yes, Wong Kar-Wai Is Still Shooting 'The
Grandmaster". [Indiewire].

"Wong Kar Wai On Chinas Growth, Kung Fu, Oscar Contenders & Bruce Lee".
Publisher: Readline Co

"WONG Kar Wai's The Grandmaster to open 63rd Berlinale". Berlinale. Retrieved
2012-12-19.

"HKIFF Review: The Grandmaster". HK Neo Reviews. Retrieved 2013-04-04.

Lee, Maggie (2013-01-08). "The Grandmaster". Variety. Retrieved 2013-01-09.

Alonso Duralde. "The Grandmaster Review: Sweeping, Gorgeous, Exciting and

Butchered Taste of Kung Fu Legend Ip Man". The Wrap.

The Hollywood Reporter, The Grandmaster: Film Review by Clarence Tsui

1/9/2013

Hong Kong Filmart: Does China Still Need the Island?". The Hollywood Reporter.
2013-03-15. Hong Kong director Wong Kar-wai says the time has come to move
beyond outdated definitions of Chinese and Hong Kong cinema. "Films don't just
belong to the mainland or Hong Kong," he says. "They belong to all Chinese and not
just to a certain place at a certain time. It's a legacy that belongs to all of us." Wong,
who made his reputation with moody art house fare like 2000's In the Mood for Love,
is living proof. He now is enjoying his biggest box-office hit in China with The
Grandmaster, his first genre film.

Walsh, Jason (15 January 2014). "Sound Editors Announce 2013 Golden Reel
Nominees". Variety. Retrieved 15 January 2014.