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The Go Master
By Roy Laird & Chris Garlock
Popular culture references to go are few and far between, so last weekend's New York Film festival screening of an entire feature film about the legendary Go Seigen was much anticipated in the U.S. go community. After all, the game's appearance in Ron Howard's 2001 film A Beautiful Mind sparked one of the biggest-ever surges of interest in go (and won Best Picture).
Unfortunately, director Tian Zhuangzhuang has turned in a boring and confusing biopic that even the most dedicated go player will be hard-pressed to sit through, much less recommend to non-playing friends.
This turgid film manages to transform the fascinating life of the 20th century's greatest player into a one-dimensional portrait slapped carelessly onto celluloid. In 104 very long minutes we learn virtually nothing about either the game of go or Go Seigen himself. After a promising beginning in which we glimpse the still-active octogenarian himself, we plunge into 1930's Japan where the young Go Seigen is about to take on Shusai, the last hereditary Honinbo (whose historic game against Kitani five years later became the basis for Kawabata's classic novel The Master of Go). But the film seems to lose interest in this titanic struggle -- between old and new, age and youth, Japan and China -- and spins off in ever more confusing subplots.
The racism and exclusion from tournaments that Go faced in the 1930's, his deep rivalry and even deeper friendship with Kitani, the co-creator of the "Shin Fuseki" that revolutionized modern go, Go's struggle to regain the top after a devastating accident at the peak of his career, are all simply hinted at amid disconnected fragments of his classic jubango matches and sketchy jumbles of other vignettes. Even film basics break down: at one point, several minutes after we see Go felled by a motorcycle on a Tokyo street, a superimposed title helpfully informs us that "in 1961, Go was involved in an accident . . ." While director Tian Zhuangzhuang is shooting in Japanese, which he does not speak, and recently came off a 9-year break during which he was barred from film-making for years by the Chinese authorities, this hardly explains the failures of his latest effort.
The film's strongest theme revolves around Go's "retirement" from play to pursue involvement in Jiu, a religious sect where, according to the film, he fell under the spell of the sect's leader and self-styled "living goddess." In reality, Go - always a deeply spiritual person - did belong to this sect, but his "retirement" lasted just over a year, from March 1945 to August 1946, a period when not much professional go was being played anywhere in Japan. It's interesting to note that the negative portrayal of religious involvement as cult-like takes place within the ongoing controversy over the Chinese government's actions toward the Falun Gong movement.
Go Seigen's life had more than his share of triumph and tragedy. The tragedy of The Go Master is that a fascinating life has been sold terribly short. Other than a handful of exquisite shots of Go playing, the film is virtually unwatchable. Only the film's last shot finally gets it right - Go is playing a ceremonial retirement game, and his opponent begins by playing on the central, or tengen point, a nice homage to the man who revolutionized a 4,000 year-old game. Hopefully, we won't have to wait 23 years to see another film about go but in the meantime your best bet is to find a copy of the 1983 "The Go Masters," and settle in with your popcorn and soda for a truly remarkable film.
Александр Динерштейн,
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