The Grandmaster was a commercial and critical success since it handled the story, the scenes and the characters very convincingly and took every one on a journey into the time period between 1930 to 1950, through the life story of Ip Man, the lead character of the film. It is indeed surprising that the director chose to open the story with a fight sequence in the rain that shows the histrionics of Ip Man the lead character and familiarizes the audience with his proficiency in the art.
As a student of movie making would note, this opening fight sequence superceded all other fight sequences in the movie and the treatment of lights, camera and action were full of montages that are unique and historically significant in the history of Chinese cinema. The Grandmaster is not a very important cult film today which falls in the category of Chinese action movies that deal with Kung Fu masters, combats and is shouldered by the lead characters or fighters in the movie. However, the film has unique montages that have never been created in the history of Chinese cinema before. Take for example the opening fight sequence done in the night in a rainy street (NIX, 2013, 1). The fight is between Ip Man and a number of combatants and uses all possible camera angles to convincingly display his skills. There are moments in the sequence which show rain waters only, whether they are on the floor of the street where they are gathered to form a pool and are disturbed by the fight on going on the same street; or whether they are flying off Ip Man’s rich white hat (Marsh, 2013, 1). These scenes were a different inclusion in an otherwise action movie. The fact that the camera, the light (especially the way it was made to reflect in the rain drops and the water splashing around), and the edits of the footage (Vineyard, 2008, 24) are very swift and shown to the audience in short timings between the fight scenes adds the extra element of