 A FilmExposed Film Review |
 Dir: Tian Zhuangzhuang, 2006, Japan/China, Mandarin with English Subtitles
Cast: Chang Chen, Sylvia Chang, Akira Emoto
The Go Master tells the story of Wu Qingyuan, a prodigious Chinese player of the oriental board game Go. Born in the 1930s he is brought to Japan to play Go at the highest level. Although set against the background of Sino Japanese relations, Wu is such an introverted figure that he is largely impervious to the political turmoil of the world around him. Only in one scene, where Wu joins a party of jubilant students, only to recoil when he finds out they’re celebrating the capture of Chinese towns, do we get a sense of Wu as an outsider. Instead this film focuses on the man’s inner life and his struggle to balance his dedication to the game of Go with his religious faith.
Director Tian Zhuangzhuang has little interest in the conventional aspects of the biopic such as psychological insight, or Wu’s status as a figure of cultural importance; instead, we take a stylised contemplative view of Wu’s life which distils plot down to its purest elements. For example, Wu’s courtship and marriage to his wife, a seminal moment in his life, is pared down to four simple scenes lasting no more than a minute long. Dialogue is sparse and mood is indicated through evocative shots of Japanese landscapes.
Chang Chen, of Crouching Tiger Hidden Dragon (2000) fame, gives a brilliant performance as Wu Qingyuan. He captures a predictably socially awkward figure who mixes astuteness on the Go board with naivety in his dealings with others – particularly in allowing himself to be manipulated by the Jiko religious sect. Although largely stoic and demure throughout, Chang Chen superbly evokes moments of Wu’s inner-conflict with an almost animalistic physicality. Juxtaposed with Wu’s usual impeccable self-control these create some quite startling scenes.
Those seeking to learn the ins and outs of the game of Go will come away from this movie disappointed, perhaps even baffled by this game of black and white pebbles and fans. No attempt is made to explain the game and the game footage consists of little more than brief clips, with the outcome of the matches never revealed. However, while the film never attempts to explain why Wu is such a great Go player it does memorably capture the intensity of Go. During one game one of Wu’s main rivals collapses, blood trickling from his nose, while Wu remains oblivious – too focussed on the game to notice. In another scene a game is disrupted by an explosion from a bomb blast, the players although blown across the floor, dust themselves down and carry on playing.
Despite the fact that Wu himself, briefly appears in this film, looking back on his life retrospectively, one can’t imagine a biopic that has been dedicated to, but more distant from, its central character. Zhuangzhuang has created a film which both departs from the conventions of both biopic and sporting movies. This zen-like depiction of a man’s life is visually beautiful but requires a viewer patient enough to deal with its stately pace.
The Go Master is being screened as part of the Spotlight Beijing: China in London Film Season, which runs from March 20 to April 10 at the ICA, London.
www.ica.org.uk |
