‘The One’ Is the Original Multiversal Arts Movie:

‘The One’ Is the Original Multiversal Arts Movie for Fans of ‘Everything Everywhere All At Once’

The concept of the multiverse is all the rage nowadays. The idea of introducing a number of universes with different versions of the main character has fueled two different Spider-Man films, the upcoming Doctor Strange in the Multiverse of Madness, and Daniel Kwan and Daniel Scheinert’s recent mind-bending martial arts masterpiece Everything Everywhere All At Once. It’s that last film that truly leans into the possibilities that an infinite number of universes offer — especially when anchored by a wonderful performance from Michelle Yeoh. But Everything Everywhere All At Once wasn’t the first film to mix multiverse theory and martial arts; that honor goes to The One. Directed and co-written by James Wong, The One stars Jet Li in a dual role as Los Angeles police officer Gabe Law and the ruthless Yulaw.

Yulaw intends to travel the multiverse and kill every one of his alternate selves. With every alternate version he kills, Yulaw’s strength and speed increase — leading to his zealous belief that he will become a godlike being known as “The One”. In hot pursuit of Yulaw are Roedecker (Delroy Lindo) and Funsch (Jason Statham), who work for the MultiVerse Authority (MVA); Yulaw was once their colleague before embarking on his interdimensional murder spree. Gabe gets swept up in the battle against Yulaw, which only grows more personal when his wife T.K. (Carla Gugino) gets involved Wong and his longtime creative collaborator Glen Morgan took their experience from working on The X-Files, a series that dabbled in multiple science fiction tropes, to The One.

The One (2001) Biography, Plot, Production, Box office, Home media, Scene.

The duo had also continued to dabble in genre fare with their 2000 hit Final Destination, which launched a franchise of its own (and reunited them with fellow X-Files writer Jeffery Reddick, who originally conceived the idea as an X-Files episode.) In fact, The One even plays out like an X-Files episode; a pair of government agents are on the trail of a mystery that has supernatural origins. Said agents just happen to work for an organization that keeps the balance of the universe, and the mystery surrounds one of the most skilled martial artists on the planet. It’s a trick that would be repeated in Everything Everywhere All At Once, with a group of dimension hoppers attempting to protect the universe from destruction. What is unique about The One is how Li approaches playing Gabe and Yulaw.

Yulaw is more ruthless and doesn’t care who he has to hurt in order to achieve his goal of godhood, while Gabe is more empathetic and selfless — he even saved a puppy from getting hit by a car (Which led to his meeting and marrying T.K.) Their fighting styles are even extensions of their personalities; Gabe uses Baguazhang (Eight Triagram Palms), a more smooth and fluid series of movements that utilize circular motions, and Yulaw uses Xiangyiquan (The Shape-Will Fist), a more aggressive form that utilizes linear movements and explosive shows of force. Everything Everywhere All At Once takes a similar approach, as Yeoh plays multiple versions of herself and gives each of them a subtle shift in personality.

Another element that serves as a standout for the film is its soundtrack. In the vein of other 2000’s-era films such as The Matrix or Underworld, The One features a soundtrack laced with nu-metal hits. “Bodies” by Drowning Pool plays during a fight scene where Yulaw takes out a group of MVA agents, and “Down With The Sickness” by Disturbed gained a foothold in popularity thanks to its use in this film and the Dawn of the Dead remake. But the best use of music comes in the final scene, as Papa Roach’s “Last Resort” plays while Yulaw faces off an army of convicts in the hellish Hades Universe. It’s an impressively constructed fight scene, and the perfect use of music will burn it into viewers’ brains — especially when Yulaw delivers an ultimatum to the other prisoners.

The supporting cast of The One is also a major draw of the film, especially Lindo and Statham. Statham’s traditional “tough guy” exterior provides a nice contrast to Li’s more calm, thoughtful performance as Gabe; Lindo makes the most out of his “grizzled elder cop” persona as he even gets to go toe to toe with Yulaw and hold his own before succumbing to the criminal’s skill. And while Gugino has a somewhat limited role, she’s given a scene where her character manages to outwith Yulaw. The three would later go on to more prolific projects; Lindo has received critical acclaim for his turn in Da 5 Bloods, Gugino has worked with genre filmmakers including Zack Snyder and Mike Flanagan and will star in the latter’s Netflix horror series The Fall of the House of Usher, and Statham would become a bonafide action star with his next film, The Transporter. Ironically, the film almost starred another up-and-coming action star. Before Li, Dwayne Johnson was considered for the lead role

How Jet Li’s The One Used Martial Arts To Create A Perfect Multiverse Fight

of Gabe Law/Yulaw, until he chose to star in The Mummy Returns. This was probably for the best, as The One featured more philosophical concepts that were more suited to Li’s beliefs. Johnson would eventually work with Gugino in the 2009 adaptation of Race to Witch Mountain, and starred alongside Statham in the Fast and Furious films, most notably Fast and Furious Presents: Hobbes and Shaw. The One didn’t exactly receive a warm reception upon its release; critics panned it for its story and the extensive use of special effects. Despite Li’s skills, many of the fight sequences do utilize dodgy CGI — including a moment where Yulaw picks up two motorcycles and uses them as weapons. But in the end, it’s a solid B-movie and proof of concept that the idea of a multiverse can yield some rich storytelling. And with the pedigree attached to it, it at least deserves a second look.