Statement: ‘Fictional narratives in films can provide us with an understanding of the nature of real-life conflict’
Can this be applied to both 'The Grandmaster' by Wong Kar-Wai and 'Mad Max' by George Miller?
One could say that the statement, ‘Fictional narratives in films can provide us with an understanding of the nature of real-life conflict’ could be applied to both Kar-Wai’s ‘The Grandmaster’ and George Miller’s ‘Mad Max’. Both films inhabit a constant, universally intelligible theme of conflict throughout the narrative, with Miller’s action set pieces and Kar-Wai’s close encounters. Yet, one could say that the two director’s use of dramatic license results in an unreliable representation of conflict, such as the predatorial gangs in ‘Mad Max’ or the auteur stylization of ‘The Grandmaster’, showing how both films can differ in their interpretations of conflict.
The first representation of conflict within ‘The Grandmaster’ is the opening. The spectator is immediately enveloped in conflict as we witness Ip man fighting. The whip pans, zooms and fast edits accentuate the conflict, increasing the speed in order to intensify the scene and deliver an impactful set piece. One could say that this opening to the narrative, expresses a universally intelligible interpretation and basic understanding of physical conflict. However, one could say that the auteuristic, expressive style could be seen as an inaccuracy to real-life physical conflict. Kar-Wai uses a lot of zooms and camera movements in a low frame rate and slow motion, harnessing close-ups to show the movement of water amongst the violence. Therefore, Kar-Wai is engrossing his dramatic license in order to place the scene into an “other motion” (Lalanne), a perpetual state that isn’t parallel to real-life, in turn decreasing the audience’s knowledge of conflict. On the other hand, one could argue that Kar- Wai’s intentions within the scene isn’t to deliver an understanding of physical conflict but to immediately address the underlying, conflicted themes of identity and time, so that the audience are able to develop their understanding, as such themes re-occur in the narrative. The perpetual state supports this, the dis-orientating choreography distills a loss of time in turn causing an ‘estrangement’ (Wollen) between the spectator and audience that develops into a sense of loss of identity. Overall, the narrative supports the themes of identity and time, developing the audience’s understanding of real-life, inner conflict.
Unlike ‘The Grandmaster’, ‘Mad Max’ opens by insinuating conflict. The audience are immediately met with images of past conflict; dystopian establishing shots, an unkept “Hall of Justice” and a skull and cross bones, propel the spectator into a state of dis-equilibrium. This is supported by the non-diegetic score, its abrupt tempo and combination of metallic and orchestral score creates a disruptive atmosphere, once again contrasting to Kar-Wai’s calm, opening score. This is supported by the composer’s (Brian May) intentions to, ‘antagonise the audience to make them feel uncomfortable.’ One could say that Miller is harnessing the micro elements in order to fully envelope the spectator into a world of conflict and dystopia, therefore developing their understanding of conflict itself. Consequently, one could argue that thus interpretation is drastically different to the real-life world and what Miller is presenting is a dramatized, elevated atmosphere. This is supported by the following set piece. Miller absolves the audience into the conflict by showing an increasingly violent car chase. He uses the speed of the cars as a catalyst for the scene, continuing to increase the pace with fast cuts, quick whip pans and climaxing music. Thus, situates the audience in a state of tension and fear, distancing them from an emotional connection and an adept understanding of the narrative conflict. Like ‘The Grandmaster’, one could see how Miller is only taking advantage of his dramatic license by showing ‘high velocity stunts’ (Deep Focus Review) Whereas, it could be argued Miller is elevating a motor fetishization in order to pay homage to mankind’s historical addiction towards conflict. Furthermore, this could be developed to say that Miller is presenting a dystopian world to act as a warning for the spectator and develop their understanding of the circumstances to violent actions, much like Stanislavski’s “Magic if” system. So, in a sense, Miller is using the narrative to correlate with past, real-life historical conflict in order to develop the audiences understanding of conflict and pose the question, what if violence went too far?
Inner conflict continues to be a constant theme within ‘The Grandmaster’, especially when we see a gradual zoom out on Gong Er, remaining motionless while the women around her are gradually moving. There is an obvious contrast to the physical conflict shown in both ‘Mad Max’ and ‘The Grandmaster’ previously, suggesting that the conflict is within. One could develop this to say she is almost suspended in time, a re-occurring motif. Due to her being surrounded by prostitutes, it could be said that the conflict could reflect on more socio-political issues at the time, how women are considered inferior therefore finding it harder to find respect within the martial arts community. Kar- Wai does this as to create an emotional alignment with Gong Er, allowing for the audience to connect with her and therefore understand her inner conflict better. However, Gong Er and Ip Man proceed to fight. As it’s choreographed in a dance-esque manner, it arises an atmosphere of sexual tension suggesting that this encounter isn’t to develop the understanding of conflict but to imbed a story of love within the narrative. This is supported by Kar-Wai’s comment “0.01cm away from love” and the following face-to-face, extreme close up. One could argue that the oncoming montage sequence is to develop Kar-Wai’s character’s constant inner conflict. The pathetic fallacy of the snow elevating Gong Er and Ip man’s separation and a now blurry gate acting as a motif to the memories they had. Although the idea of being separated from a partner could be reflected in real-life, it could be argued that this relationship is a dramaticized situation of unrequited love in order to create a sympathetic audience response and gain their allegiance with both Ip Man and Gong Er instead of prioritizing the conflict of the scene. However, when Kar-Wai proceeds to demonstrate domestic conflict, one could say it is now an accurate representation of a deteriating marriage, therefore can justly develop a spectator’s understanding of this real-life conflict. We witness both Ip Man and his wife constantly at a distance within the frame, mirroring the distance that they feel emotionally.
Unlike Kar-Wai, Miller takes a different approach with Toecutter’s gang. Mirroring Marlon Brando’s B.R.M.C. Motorcycle gang from ‘The Wild Ones’ (1953), Miller portrays them as predatorial and aggressive, sharing mannerisms to that of animals. Their arrival into the scene signifies an enhanced state of conflict, amplifying the diegetic motorbike noises to act as a catalyst for the pace of the scene. Unlike ‘The Grandmaster’s antagonists, the gang often move in random, adrenaline fueled movements making spontaneous noises in order to enhance the tension and danger of their presence. Considering the statement, one could say that the gang allows for a better understanding of conflict in real-life due to his representation of criminality. The state of dis-equilibrium that they impose could be allocated to the disequilibrium in the audience’s lives that is caused by criminals.
Consequently, one could say that Miller’s interpretation is more absurd, reflecting the gang as a pack of wild animals rather than an orchestrated gang. In support of this, he purposefully creates the location of the gang’s introduction disorientating to mirror the gang’s random behavior, elevating the mis-en-scene to make the audience feel uncomfortable and at risk. For example, the 50s American style car and the western layout of the town. The contradictions allow for the gang’s imposition to be more effective, demonstrating their role in the narrative and the source of conflict that they become. This is supported by Miller’s choice to once again resort to physical conflict, having the gang chase down a car and continue to destroy it. Unlike Kar-Wai’s choreographed movements, Miller elevates the micro elements in order to make the audience feel as if they are being attacked, using close-ups, quick cuts and whip pans to highlight the deadly aspects of the gang.
Overall, I think that both ‘Mad Max’ and ‘The Grandmaster’ allow for their narratives to give a better understanding of real-life conflict. Both films use the universally intelligible physical conflict yet both could be argued to decrease the audiences understanding. ‘The Grandmaster’s auteur approach stylizes the characters encounters, paying more attention to the mis-en-scene and motifs than their proxemics. This is supported by the idea that Eastern cultures could be disorientating to more Western societies, particularly the conflict between the North and the South. Similar to this, ‘Mad Max’ follows characteristics of Australian New Wave, showing sudden violence and languorous sexuality throughout the narrative. One could argue that this contrasts greatly to societies in real life and that Miller elevates the mis-en-scene and micro elements to exasperate the danger that the gang poses, therefore taking advantage of his dramatic license. However, in conclusion, both films develop their audiences understanding with Kar-Wai’s thorough development around inner conflict and the restless themes of identity and time, and Miller’s motor fetishization that parallels to the violence and speed of real-life socio-political issues.