Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 276, Section 274: The Happy Family (Part 2)
In an unexpected car accident, Chen Mo was seriously injured and fell into a coma, and was rushed to the hospital.

In a deep coma, Chen Mo's consciousness entered a strange and warm "dream space".

This space is bizarre and fantastical, as if it were a projection of his inner world.

Here, he encountered four strange men from his dreams who claimed to be his "family":
"Uncle Smoker" (played by Wang Zhiwen): He always has an unlit cigarette in his mouth, speaks slowly and deliberately, with a world-weary air about him, likes to spout some seemingly profound but actually illogical truths, and claims to be Chen Mo's "father".

"The Crybaby Auntie" (played by Song Dandan): She is extremely emotional, easily bursting into tears, and her care for Chen Mo is so excessive that it is suffocating. She calls herself Chen Mo's "mother".

"Violent Brother" (played by Fu Biao): He has excess energy and wants to solve problems with his "fists" at the slightest disagreement, but his protective instincts towards Chen Mo are very obvious in his eyes. He calls himself Chen Mo's "brother".

"Foodie Sister" (played by Yang You, childhood): Mischievous and clever, always holding snacks, innocently complaining about everything from a child's perspective, and calling herself Chen Mo's "sister".

Chen Mo felt confused and even annoyed by these four suddenly appearing "family members".

He believed it was just a product of his mental confusion before he died, and all he wanted was to wake up and escape this absurd dream.

However, these four "family members" were unusually persistent. They told Chen Mo that only by helping each of them fulfill an unfulfilled wish in the real world could he "pass" the dream and wake up.

Thus, in a wondrous state where dreams and reality intertwine, Chen Mo reluctantly embarks on a journey to fulfill the wishes of his "family":

The "smoker uncle's" wish is to find and smoke a specific brand of cigarettes that he has treasured for many years (a metaphor for letting go of the past and facing it with equanimity).

The "crybaby auntie's" wish is to watch the old movie where she and her "husband" fell in love when they were young again (a metaphor for reliving the beauty of love).

The "violent older brother's" wish is to have a fair fight with his younger brother Chen Mo, and then go out for barbecue together (a metaphor for brotherly reconciliation and companionship).

The "foodie sister's" wish is to eat the sweet and sour pork ribs that her mother makes, the taste of which is the same as the one she remembers (a metaphor for the taste of home and the warmth of childhood).

In order to realize these wishes, Chen Mo's consciousness sometimes vaguely perceives and subtly influences the real world (for example, the slight movement of his fingers is observed by doctors to be abnormally active brain waves), and at other times he is completely immersed in the symbolic dream space constructed by his subconscious.

In his dream, in order to find that pack of cigarettes, he ventured into a "bureaucratic labyrinth" composed of his inner fears; in order to find that old movie, he entered a "sea of ​​film" composed of fragments of memory; in order to "fight" with his brother, he clumsily threw punches on a stage symbolizing the gladiatorial arena of his heart; in order to recreate the taste of sweet and sour pork ribs, he frantically tried to recreate the taste of his childhood kitchen.

The process was filled with hilarious embarrassments and laugh-out-loud interactions.

Huang Bo portrayed Chen Mo's transformation from resistance and helplessness to gradual being influenced and passively participating in a nuanced and natural way.

The actors playing the four "family members" were also outstanding. Wang Zhiwen's dry humor, Song Dandan's exaggerated warmth, Wu Jing's unexpected cuteness, and the child star's natural naiveté all contributed to a multitude of laughs.

Laughter frequently erupted in the theater. Xiaolin and Xiaowei laughed so hard they were doubled over, their earlier worries completely gone.

However, as his wishes were fulfilled one by one, Chen Mo's bond with these four "family members" deepened. He began to feel the long-lost warmth and noise of family in his dreams.

Those childhood memories that he had deliberately forgotten or blurred began to gradually become clear.

He realized that the behavior patterns and personality traits of these four "family members" subtly corresponded to his deepest feelings about family.

Finally, after helping the "foodie sister" successfully "make" sweet and sour pork ribs, the entire dream space suddenly became incredibly bright and warm.

The four "family members" sat around a sumptuous dining table, their smiles loving and genuine.

The "smoker uncle" stubbed out his illusory cigarette, looked at Chen Mo with clear and warm eyes: "Xiao Mo, actually... we are the part of your family who have lost their memories."

A long-buried past is slowly revealed through flashbacks in a dream: When Chen Mo was young, his family was involved in a serious car accident while traveling. His parents and older brother died trying to protect him, leaving only him and his younger sister to survive. However, his sister was taken in by distant relatives and lost contact with them.

The immense trauma caused Chen Mo to selectively forget the tragedy and the specific appearances of his family, leaving only vague feelings and deep-seated wounds.

These four "family members" are the images of his parents and brothers in his subconscious, constructed by combining fragments of memory and his imagination.

The image of his "younger sister" represents his last concern for his relatives with whom he has lost contact.

They entered his dreams not so much to fulfill his wishes, but to guide him to confront his trauma, rediscover lost memories and emotional connections with his family, and achieve inner self-healing.

(Movie footage inserted here: a quick flashback to heartwarming childhood moments, followed by the chaos and sorrow of a car accident, and the moment when his parents and brothers protect him in the end. The scene is handled subtly yet powerfully, avoiding excessive gore and focusing on emotional impact.)

The truth came out, and the theater fell silent, with only the faint sound of sniffling audible.

Xiao Lin felt his eyes welling up and tightly grasped Xiao Wei's hand. Xiao Wei was already leaning on his shoulder, silently shedding tears.

In his dream, Chen Mo was in tears, tightly embracing his "family".

All the barriers and misunderstandings melted away in that moment. The "crybaby auntie" wiped away her tears, but smiled and said, "Xiao Mo, you must live well, and live happily for our sake too."

The "violent older brother" lightly punched his chest: "From now on... no one will bully you anymore."

The "foodie sister" put the last piece of "sweet and sour pork ribs" into his bowl: "Brother, remember the taste of home."

The chain-smoker patted him on the shoulder one last time: "It's time...wake up, son."

The figures of the four "family members" gradually became transparent in the warm light, eventually turning into starlight and merging into Chen Mo's heart.

They are not ghosts, but rather the embodiment of love deep within his heart, the concrete manifestation of unfinished emotions, and the "guides" leading him out of his psychological shadows.

In the real world, Chen Mo, lying in his hospital bed, slid a tear down his cheek as the indicators on the monitor began to stabilize.

He woke up.

Outside the window, the sun is shining brightly.

When Chen Mo woke up, he seemed to have been reborn. He was no longer the cowardly and confused insurance salesman.

He actively engaged in rehabilitation and worked hard to readjust to his life.

He used the courage and wisdom he regained in his dreams to improve his work attitude and even began to try to find his long-lost sister.

The film ends on a sunny afternoon.

Having found a stable job and with his life back on track, Chen Mo sat on a park bench, watching the children playing in the distance, a calm and relieved smile on his face.

His gaze was no longer wandering; it was filled with hope for the future.

At this moment, a young girl (played by Li Xiaoran) wearing a volunteer vest and with a bright smile walked over, handed him a bottle of water, and asked with concern, "Sir, you look much better."

This girl was the gentle figure who often volunteered at the hospital during his coma, and would occasionally read the newspaper and talk to him by his bedside.

Her existence hints at new bonds and warmth in the real world.

Chen Mo took the water, sincerely thanked him, and the two smiled at each other.

The image freezes on this hopeful moment.

(The movie ends)
As the end credits rolled and a soothing and hopeful end credits song played, many viewers remained immersed in the story's emotional impact, lingering for a long time before getting up.

"That's great..." Xiaowei said softly while wiping away her tears, "Although I cried, it was tears of joy. In the end, he woke up and had a new beginning."

Xiaolin breathed a long sigh of relief, feeling as if a huge weight had been lifted from her heart, replaced by a warm sense of comfort.

"I knew it, Wang Sheng is reliable. This time it's really... funny and touching, but heartwarming in the end. He changed 'ghost' to 'dream,' which was so clever. It retained the emotional core while avoiding sensitivity, making it easier for people to accept."

Stepping out of the theater, the wind was still cold, but both of them felt a warm glow inside. The other audience members around them were also engaged in a lively discussion.

"Huang Bo's acting was superb! The beginning was hilarious, and the ending was touching!"

"That dream concept was brilliant! I thought it was a real horror movie!"

"That last eye contact with the nurse (Li Xiaoran) was so moving, it felt like a new beginning!"

"Wang Sheng has really figured this out this time; this is how the Lunar New Year film season should be!"

Similar scenes are playing out repeatedly in cinemas across the country.

With its ingenious "dream" setting, "Happy Family" successfully packaged a potentially supernatural and somewhat heavy theme of "family trauma and reconciliation" into a family-friendly Lunar New Year comedy that is both hilarious and deeply moving, ultimately leading to a heartwarming redemption.

It not only satisfies the audience's demand for light entertainment during the Lunar New Year season, but also continues the emotional depth and humanistic concern that Wang Sheng's works have always been.

The slight "shadow" cast by "The Pursuit of Happyness" last year has completely vanished under the warm and healing light of "Happy Family".

(End of this chapter)