Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 204, Section 202: Speaking the Truth

In the second week of December 1998, Beijing was completely enveloped in the chill of the year-end and the heated discussions sparked by "The Pursuit of Happyness".

The box office figures were like dry tinder thrown into a raging fire, crackling and burning rapidly.

Following a strong opening day gross of 103 million, "The Pursuit of Happyness" earned approximately 201 million on Saturday, December 5th, and another approximately 184 million on Sunday, December 6th.

The box office reached an astonishing 488 million yuan in its opening weekend!

While this figure failed to surpass the performance of "30 Days" during the same period last year, market acceptance did not experience a collapse.

In the cinema, screenings of "The Pursuit of Happyness" were still covered with dense markings.

At the ticket window, a long line of people waited to buy tickets, and amidst the discussions, "Chen Jianguo," "laid off," and "happiness" became frequently used words.

However, along with the soaring box office came an increasingly intense media storm.

As the center of the national media, Beijing is home to countless astute journalists and commentators.

Although "The Pursuit of Happyness" was not released simultaneously in theaters nationwide, every screening and every box office statistic of it in Beijing was exposed to the spotlight.

China Youth Daily once again stepped up its efforts, continuing Zhang Jianwei's consistent support for Wang Sheng, and published a lengthy commentary entitled "Happiness Knocks on the Door, Questioning the Conscience of the Times."

The article highly praises the film for "facing the pain of social transformation with great courage and warmth, and recording the struggles and resilience of laid-off workers," and believes that Wang Sheng "has taken on the social responsibility of an artist through his lens and given voice to the silent majority."

In stark contrast, the Economic Observer published a more incisive commentary, whose title directly quoted the Jinling Daily's theory of "spiritual poison" and further elaborated on it: "The Myth and Structural Dilemma of 'Personal Struggle' - Analyzing the Narrative Trap of 'The Pursuit of Happyness'".

The article logically argues that the film simplifies complex social issues into a moral question of individual effort, thus weakening the exploration of deeper causes such as the system and policies. While this narrative can stimulate individual initiative, it may also become an excuse to shirk collective social responsibility.

Supporters believe the film is authentic and moving, giving rare attention and dignity to working-class people; critics, on the other hand, accuse the film of avoiding contradictions and glorifying reality, calling it a carefully brewed "spiritual poison" to numb pain.

The two sides engaged in fierce verbal battles in newspaper columns, radio hotlines, and even on nascent internet forums.

"Wang Sheng is using film to record reality!"

"He's rubbing sugar in the wound to cover up the real problem!"

"Chen Jianguo gave us hope!"

"That's false hope! In reality, how many people can get into a securities company with just a dictionary?"

Amidst the uproar in public opinion, Wang Sheng, the eye of the storm, remained silent.

He did not give any media interviews, did not comment on the box office results, and did not respond to the sharp criticisms.

This silence, to some extent, has only fueled the curiosity and speculation of the outside world.

Just then, an invitation reached the silent Wang Sheng.

CCTV-1's flagship talk show, "Tell It Like It Is," invited Wang Sheng as a guest to record a special episode.

The topic presented by the program team directly addresses current hot topics: "Movies and Reality: The Pursuit of Happyness"

……

December 9th, 2 PM.

Inside the CCTV studio, the lights were soft, and the audience seats were full.

Viewers of different ages and professions waited with curiosity, anticipation, and perhaps a bit of skepticism for the show to begin.

Wang Sheng, dressed in a simple dark turtleneck sweater and a casual suit jacket, sat on the familiar sofa with the "Tell It Like It Is" logo.

Opposite him was the host, Xiao Cui, whose smile was slightly shy but whose words were sharp.

"Hello, viewers! Welcome to 'Tell It Like It Is'."

Xiao Cui began with his distinctive, slightly hoarse voice: "There's a movie recently that I believe many viewers, even if they haven't seen it, have certainly heard of, which is 'The Pursuit of Happyness'."

This film did quite well at the box office, but the discussions it sparked, even the controversies, were equally significant. Today, we are very honored to have with us the film's director, Mr. Wang Sheng, who is also the general manager of Shengying Media! Welcome, Mr. Wang Sheng!

Applause erupted, and the camera focused on Wang Sheng. He smiled and nodded to the audience and the host, appearing calm and composed.

"Director Wang, hello."

Cui Yongyuan got straight to the point: "First of all, congratulations on the film's great box office performance. But we've also noticed that there are many different opinions about this film. Some say it's realistic and moving, while others say it avoids reality, or even... is a 'spiritual poison.' What's your opinion on these reviews?"

Wang Sheng leaned forward slightly, placed his hands crossed on his knees, and said calmly, "Thank you, Professor Cui. First of all, I think it's a good thing that there's discussion; it shows that everyone cares about this film and the people and events depicted in it. As for the 'spiritual poison' label..."

He paused, a faint wry smile appearing on his face: "I think that's an overstatement. A film is not a textbook, nor a policy document; it is first and foremost a story, an artistic creation. Its primary task is to create characters, convey emotions, and provoke thought."

Xiao Cui astutely followed up: "So what kind of emotion do you hope to convey and what kind of reflection do you hope to evoke through Chen Jianguo's story? Especially at a time when many families and many workers are facing similar predicaments."

"What I want to convey first and foremost is a spirit of 'not accepting fate'."

Wang Sheng's gaze swept across the audience, his voice steady and clear: "Chen Jianguo lost his secure job, his family broke apart, and he became homeless. This is undoubtedly a tremendous pain, a scar of the times. The film does not, and cannot, avoid this pain. But what we want to show more is how a person, after suffering a severe blow, relies on the remaining strength in their heart—it may be knowledge, it may be skills, or it may simply be the will not to fall—to struggle and to find even the slightest glimmer of light."

He paused, then continued, "I'm not trying to tell the audience that as long as you work hard, you're guaranteed to succeed and get a job at a securities firm. That's unrealistic. What I want to tell the audience, especially those in difficult circumstances, that even if the hope is slim, the struggle itself is meaningful."

This struggle is a fight against fate, a defense of dignity. Chen Jianguo's ultimate 'success' in the film is symbolic, symbolizing that he was not completely defeated by life, that he held onto his bottom line as a father and a man. This in itself is a kind of 'happiness'.

The room was quiet, and the audience listened attentively.

Xiao Cui nodded, then changed the subject: "I noticed a detail: in the movie, Chen Jianguo's tools for turning his life around were an English-Chinese dictionary and financial knowledge."

Does this imply that only those with education and the ability to seize opportunities in emerging industries have a future? Where does happiness come from for ordinary workers who lack these advantages?

This is a very pointed question, directly addressing the limitations of the "theory of individual struggle".

Wang Sheng seemed prepared, and he gently shook his head: "No, Professor Cui, I think this is a misinterpretation. Dictionary knowledge and financial knowledge are specific weapons possessed by Chen Jianguo, this 'specific person.' He used to be a technical backbone and has some cultural background; that's his personal background."

The film aims to convey that everyone has their own 'dictionary'. It could be your skilled machinistry, your ability to cook delicious meals, your hardworking and resilient character, or even just your trustworthy reputation.

In times of hardship, what we need to do is find and firmly grasp our own 'dictionary,' and on that basis, seek a way to survive.

He said sincerely, "Films cannot provide solutions for every specific individual; that is the job of sociologists, economists, and policymakers."

What movies can and should do is to showcase the spirit of people in adversity and to convey an indomitable spirit.

If viewers can feel even a little bit of that strength from Chen Jianguo, and thus be more persistent in their own lives, then I think the film will have achieved its value.

"So you don't agree that movies romanticize reality or oversimplify complex issues?" Cui pressed.

“I believe that movies ‘refine’ reality, rather than ‘beautify’ it.”

Wang Sheng corrected, "We concentrated the resilience and wisdom that may exist in many laid-off workers into Chen Jianguo, both for dramatic effect and to convey that spirit more strongly."

We presented the suffering, and we didn't shy away from the cruel details like selling blood and living in public bathhouses. The film's ending is open; Chen Jianguo simply blends into the crowd, and his future remains unknown.

How can this be called glorification? It precisely illustrates that individual struggles need to be placed within the broader context of the times; the road ahead is still long.

Xiao Cui seemed thoughtful, then turned to the audience: "After hearing Director Wang's explanation, does anyone have any questions?"

A middle-aged male audience member took the microphone, his voice trembling with emotion: "Director Wang, thank you for making this film! I'm a Beijing resident who was laid off from Northeast China. Many scenes in the movie brought tears to my eyes. Some people call it poison, but I disagree! It made me feel that I can still fight, and for my children, I have to keep fighting!"

A young woman wearing glasses asked, "Director Wang, hello. I'm a journalist. I'd like to ask, as a mass medium, how do you think film should strike a balance when reflecting social issues? Should it offer more hope, or should it expose the contradictions more profoundly?"

Wang Sheng looked at her and answered seriously: "That's a very good question. I believe that profound revelation and warm hope are not contradictory."

To merely expose without offering hope is cruel; to offer hope without touching the truth is superficial. "The Pursuit of Happyness" attempts to find a balance between the two.

We showed the scars, but what we wanted to convey even more was the possibility of healing, the undying light of humanity. This balance was difficult to strike, but we tried our best.

The Q&A session was lively, and Wang Sheng's answers were both emotionally resonant and rationally thoughtful, sometimes humorous and sometimes earnest, gradually winning the understanding and applause of more and more viewers.

At the end of the program, Cui Yongyuan concluded: "Thank you to Director Wang Sheng for coming to 'Tell It Like It Is' today and sharing so much of the thought behind his creative process with us."

Film is a mirror of reality and a glimmer of idealism. Regardless of external opinions, "The Pursuit of Happyness" has indeed touched the hearts of many and sparked widespread reflection. This, in itself, may be the greatest value of cinematic art.

……

On Sunday morning, December 13th, the special program "Tell It Like It Is: Movies and Reality: The Pursuit of Happyness" aired as scheduled.

At this time, "The Pursuit of Happyness" has been released for nearly two weeks, and its cumulative box office is steadily moving toward the 20 million mark, while the debate about it has not stopped.

The broadcast of the program was like a clear and powerful pebble being thrown after Wang Sheng's long silence.

Wang Sheng's performance on the show was calm, sincere, and substantive; he neither avoided controversy nor lectured from a superior position.

His views on "films distilling reality," "everyone has their own dictionary," and "struggle itself has meaning" were conveyed to countless households through the Yangshi platform.

Many viewers who were initially critical softened their stance after watching the program.

"So that's what he meant..."

"After hearing what he said, I think I can understand the movie better now."

"At least he dared to stand up and speak out, and what he said made sense."

Of course, the controversy will not be completely quelled by a single program, but more rational discussions are beginning to emerge amidst the public outcry.

Wang Sheng's statement was a powerful "vindication" of himself and the film, shifting public attention partly from the debate over the film's narrative itself to a deeper exploration of its social significance and humanistic concerns.

The popularity of "The Pursuit of Happyness" has surged again due to the airing of "Tell It Like It Is".

(End of this chapter)