Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 148, Section 146: Preview
Wednesday morning, September 17, 1997.

The atmosphere at the entrance of the Beijing Film Studio auditorium was more unusual than usual.

Although it was an internal screening and not publicly promoted, "30 Days," the first Lunar New Year film directed by Wang Sheng and starring Stephen Chow, still attracted a lot of attention from the industry.

At the entrance of the auditorium, Wang Sheng, dressed in a well-fitting casual suit, greeted the distinguished guests who had come to watch the film today, along with Han Sanping and others.

The first to arrive was a delegation from one of the investors, "Forbidden City Film Industry".

Forbidden City Film Industry, a joint-stock company established by the Beijing Cultural Bureau, Beijing Film Studio, Beijing Television Art Center and Beijing Film Company, was just listed at the beginning of this year. It aims to integrate resources and produce film and television works that are close to the market and reflect the style of Beijing. It can be said that it was born with a silver spoon in its mouth and is a new force that should not be underestimated in the Beijing film and television industry.

The team was led by Zhang Heping, chairman and general manager of Forbidden City Film Industry, a veteran cultural figure with many years of experience and extensive connections in Beijing's cultural circles. He had a kind face, but his eyes revealed shrewdness.

He represents the cultural sector of Beijing.

Accompanying him were Wang Zhu, Lu Yao, and others.

They respectively represent the municipal propaganda department, Beijing TV, Beijing Television Art Center, and Beijing Film Distribution and Screening Company.

"Director Han, General Manager Wang, congratulations! I've been looking forward to this for so long, and I'm really looking forward to seeing it today!" Zhang Heping shook hands with Han Sanping and Wang Sheng with a big smile.

"Chairman Zhang, General Manager Wang, General Manager Lu, it is our honor to have you all here." Wang Sheng responded politely, shaking hands and exchanging pleasantries with everyone: "The film is still rough, please give us your valuable opinions."

Lu Yao smiled and said, "President Wang, you're too modest. With you at the helm and Stephen Chow joining us, it's hard for this film not to be exciting. We've come here with a learning mindset."

"Please come in..."

After shaking hands with them one by one, Han Sanping greeted them.

After a warm greeting, everyone entered the hall one after another.

The auditorium was simply furnished, with comfortable seats and the projection equipment was set to optimal condition.

Everyone took their seats as instructed. The leaders of Forbidden City Film Company and Beijing Film Studio were in the front row, and the employees of Beijing Film Studio who participated in the production were in the back row.

The lights dimmed, and the screen lit up.

The logos of Beijing Film Studio, Shengying Media, and Forbidden City Film Industry appeared in turn, finally settling on the film title "30 Days," with a warm and playful font design.

The film begins.

The main plot revolves around Chen Shi (played by Stephen Chow), an ordinary worker in Beijing, and his wife Lin Weiwei (played by Li Xiaoran).

After several years of marriage, the passion was worn down by the daily grind, and the couple impulsively decided to go to the civil affairs bureau to get a divorce due to accumulated conflicts over trivial matters.

On their way to the Civil Affairs Bureau, an unexpected car accident occurred, and both of them were injured and hospitalized.

Upon waking, they were plunged into a peculiar "selective amnesia"—they forgot all their memories of meeting, falling in love with, and marrying each other, retaining only other life skills and common sense.

Faced with a partner who has suddenly become "the most familiar stranger," and under the "well-intentioned concealment" and guidance of family and friends, the two are forced to begin a "30-day" cohabitation life under the same roof.

Thus, a series of unexpected and hilarious misunderstandings and clashes unfolded:
Chen Shi tried to show her "boyfriend power" by making breakfast, but she made a mess of the kitchen and ended up serving a plate of dark, heart-shaped fried eggs.
Lin Weiwei tried to maintain her "ladylike image," but upon seeing a mouse, she violently stomped it to death, and the two stared at each other awkwardly.
They were dragged by their friends to the park where they had their first date. Seeing the couples around them being affectionate, they felt very uncomfortable and made a lot of jokes.

In recalling the clues of the past, they sometimes dislike each other, and at other times are touched by the familiarity and care that the other inadvertently reveals... The humor in the film does not rely on the extremely exaggerated nonsensical performance of Stephen Chow's previous films, but comes more from the misplaced situations and the real reactions of the characters.

Stephen Chow toned down his signature maniacal laughter and exaggerated body language, relying more on subtle facial expressions, eye contact, and dialogue (dubbed by his Mandarin voice actor) to portray Chen Shi, a somewhat chauvinistic but essentially kind and honest ordinary man.

Listening to Stephen Chow's lines reminded Wang Sheng of some online debates from his previous life.

Does an actor who can't even speak Mandarin fluently and whose performances are only fully understood by mainland audiences through voice acting deserve the title of "King of Chinese Comedy"?
Some believe that a true "king" should possess comprehensive abilities, and original dialogue is an integral part of the performance; relying on dubbing is ultimately a shortcoming.

Some argue that the core of comedy lies in performance rhythm, body language, and facial expressions, and that Stephen Chow's mastery of these aspects is unparalleled. Dubbing is merely a bridge for dissemination and does not diminish his artistic achievements.

The true reason for his enduring popularity lies in the core of his films, his portrayal of ordinary people, and the deconstruction and reflection on reality behind his "nonsensical" humor.

However, this down-to-earth performance actually makes the characters more real and believable, and the humor more relatable.

Li Xiaoran's performance was also commendable. She portrayed Lin Weiwei's journey from initial indifference and aloofness to being gradually moved by her "strange" husband's clumsy care, causing her heart to stir again. She did so with subtlety and naturalness.

As the "30-day" deadline approached, with the help of those around them, the two went through a series of events together, and the lost fragments of their emotional memories were gradually pieced back together.

Finally, at the street corner where they had once decided to divorce, the two met again. Looking into each other's eyes, they saw the familiar confusion mixed with the gradually clearing love. Overwhelmed with emotion, they smiled at each other...

The film ended in a warm and touching atmosphere, with the credits rolling and the lights coming on.

The auditorium erupted in enthusiastic applause.

Most of the audience members had relaxed and happy smiles on their faces.

This film has no heavy themes or complex narratives; it's a heartwarming comedy with a fast pace, plenty of laughs, and genuine emotions.

"Good! That's great!"

Zhang Heping stood up first and shook Wang Sheng's hand again: "President Wang, you truly are a young talent! This film has a good story, is well-made, has excellent pacing, natural humor, and sufficient emotional build-up. It's a perfect family-friendly movie, with both laughter and tears, and is very suitable for the Lunar New Year season!"

Lu Yao nodded repeatedly: "It's really good. The premise of a broken mirror being mended is very dramatic in itself. The amnesia plot, when used well, is not only not melodramatic, but also creates a lot of fresh and interesting jokes. The final emotional return is also handled naturally, without being deliberately sentimental. I think the market response will be very good."

With a satisfied smile, Han Sanping said to Wang Sheng and Huo Jianqi, "You've worked hard, and the results are remarkable. This film proves that we can not only make TV movies, but also handle feature films for theatrical release, and even high-commercial-value comedies."

Other leaders and staff members who were also watching the film gathered around to offer their congratulations, creating a lively atmosphere.

However, amidst the praise, some expressed a hint of regret.

Wang Zhu sighed, "The film is really good, but unfortunately, with the current distribution network... it will be quite difficult to quickly spread it across the country. In order to protect the box office and prevent piracy, it will probably only be able to be shown in mainstream cinemas in Beijing and a few other major cities in the early stages, and then gradually spread."

Upon hearing this, Han Sanping pondered for a moment and said, "The capital market is our base; let's ensure its absolute safety first. As for the wider scope..."

"The fact that this movie stars Stephen Chow is one of its biggest selling points. His comedic films have a significant influence. Perhaps... we could consider releasing it simultaneously, or a little later, in the Hong Kong market? They are more receptive to Stephen Chow's comedies there, which could also boost its popularity in the mainland."

This proposal caught everyone's attention, and they began discussing the possibility of releasing it in Hong Kong.

(End of this chapter)