In my estimation Donnie Yen has become a serious action actor--as opposed to merely an action prop (as he was generally used in films even as late as, say, Flashpoint).

In Donnie's early days he appeared in a number of superlative action films like OUATIC2, Wing Chun, Iron Monkey, and the TVB Fist of Fury series. But I always felt he was not much more than a ham with a sixth-degree black belt and a ridiculous snarl (a la Jet Li). I suspect most people like myself always enjoyed and admired his cinematic martial arts performances. This film, combined with its predecessor, however, finally pushed me over the edge to the point where I think Donnie and Bruce can be spoken of as being intriguingly comparable.

This film starts with Ip Man (the Cantonese romanization/pronunciation of the main character's name--played by Donnie) opening his school in a sketchy Hong Kong neighborhood, with the typical formula we have seen countless times previously. The school's existence creates trouble for the rival schools culminating in a big battle. And indeed a big fish market battle ensues that is very over the top and reminiscent of a mid-80s Jackie Chan or Sammo Hung film. And indeed, Sammo is credited with the action choreography for this film.

After the fish market scene, there is an inaugural trial for new martial art school masters in a large indoor venue wherein Ip Man must take on any of the other martial arts school masters who wish to challenge him. And indeed, it was great to see the great Fung Hark-On make an appearance as one of the masters! Ultimately Ip Man takes on the local big-boss master (played by Sammo) with a well-choreographed albeit well-over-the-top (even by already over-the-top 2010 standards) fight scene.

The story then pauses and turns into the rather painful topic of imperialism and racism--both very important topics for an understanding of 20th century Chinese history. The vast and heinous imperial crimes (tautological in itself) of the Japanese and British are still virtually unacknowledged by both of the criminal perpetrators. They really need to be known and discussed--particularly within popular Chinese culture among younger people.

As to whether the film handles this sensitive topic in an appropriate fashion is another matter, and is open to debate. As with most fllms of this genre, the universal message is that violence is the answer. And Donnie Yen has made a career playing the person that angrily and convincingly delivers justice through violence.

The melodramatic turn the story takes when the rival school's master takes on a European champion boxer was particularly emotionally evocative. This in turn sets up the deep, visceral hatred that can only be relieved by an appropriately violent climax and denouement. Again, a very typical cinematic formula in martial arts films. But there was unquestionably, for this reviewer, a deep seated angst that the film created that few other films (short of those directly involving racial atrocities) can create. At some point, situations are created where violence appears to be the only solution to attaining justice.

The final scene where Ip Man is faced with the ultimate choice, was particularly well written and executed.

Emotionally, the film is among the most powerful I have seen (partly because I feel strongly about the topic). Technically, as cinematic art, however, it was certainly uneven and questionably edited. Simon Yam, as is frequently the case, is purely an annoying distraction that is altogether out of place. The late cameo by a child who was later to become one of Ip Man's students in real life was very poorly executed and out of place. Fan Siu-Wong's appearance didn't have much purpose. And Lynn Hung (who nearly possesses the goddess-like presence of Fan Bingbing) was nothing but a flower vase here.

Larger questions came up in my mind after watching this film. I recently re-watched the (otherwise ghastly) 1977 Golden Harvest film about Bruce Lee's life and wondered just how much Donnie and Bruce actually have in common. I cannot help but believe that their angst-ridden films and the characters they play reflect who they are as people. In Bruce's case, art frequently imitated life as the aforementioned 1977 film so clearly demonstrated. And while I do not know all of the facts, I strongly suspect Bruce and Donnie had similarly difficult childhoods (having grown up in two vastly different cultures where they were away from their parents and not necessarily treated well). Donnie may lack the onscreen presence and sheer beauty that Bruce possessed, but I find their unmatched cinematic martial arts skill, their deep dedication thereto, as well as the genuineness of the anger that drives them in their films, strikingly and eerily similar. I would not be surprised to learn that Donnie Yen very much considers Bruce a role model. And indeed in some ways Donnie has really become, cinematically at least, what Bruce would have become.

Given Bruce's well-known convictions, this would have been exactly the type of film that would have further defined him.

With this film, I think I finally get Donnie. This is really him. This is his role.