Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 327-325: The Savage Storm (Part 1)
In December, Northeast Asia was hit by wave after wave of cold air, but it did nothing to cool the raging fire that "My Sassy Girl" had ignited in the South Korean and Japanese film markets.

This commercial genre film from China is creating a viewing frenzy known as "Savage Trend" in a way that has surprised many people, in two countries with vastly different cultures but also inexplicably similar emotions.

South Korea: "My Sassy Girl"—A Tale of Subversion and Resonance

In South Korea, with the full support of Jung Tae-won's Taewon Entertainment, "My Sassy Girl" officially premiered in theaters on December 16.

The film demonstrated amazing explosive power in its opening week.

Building on the positive reputation established by "A Little Thing Called First Love" and Wang Sheng's growing recognition as a "quality director," coupled with Taiyuan Entertainment's targeted marketing campaign aimed at young audiences—

Especially with the overwhelming posters in major university areas and youth-populated areas like Hongdae and Itaewon, as well as the theme song "I Believe" (Korean version "Encounter"), a collaboration with popular singer Park Jung-hyun, which was heavily promoted on music programs and radio, "My Sassy Girl" successfully captured the curiosity of young Korean viewers, especially university students and young working professionals.

During its opening weekend, the film attracted more than 28 viewers in the Seoul area, and the number of viewers nationwide easily exceeded 60.

This figure was remarkable for a foreign film, especially a non-Hollywood film, in the South Korean film market in 2000.

South Korean film critics also reacted quickly. The Chosun Ilbo's film review column wrote: "This is a film that breaks our stereotypes about Chinese-language films. It does not have a heavy historical burden or a grand narrative background, but accurately captures the emotional state of urban young people in the context of globalization—the weariness of traditional male-female relationship models, the desire for self-expression, and the protection of pure emotions under a seemingly 'savage' exterior."

Fan Xiaopang's portrayal of the "savage girlfriend," with her domineering and willful nature concealing underlying vulnerability and deep affection, resonated wonderfully with the mindset of a new generation of Korean women seeking self-expression. Meanwhile, Deng Chao's portrayal of the honest, patient, and deeply affectionate male lead perfectly matched the Korean audience's image of the "ideal submissive boyfriend."

The Dong-A Ilbo, however, focused more on the socio-cultural phenomenon analysis of the film: "The emergence of 'My Sassy Girl' coincided with a period when South Korean society experienced the Asian financial crisis, during which female consciousness was further awakened and the traditional patriarchal social structure was impacted."

The film's premise of the woman taking the lead in the relationship, though presented in an exaggerated comedic style, resonates with the psychological needs of some young women in reality, providing an outlet for their emotions.

Meanwhile, the film's use of elements from the early days of online dating and subway romances is highly relevant to the era, resonating deeply with young South Korean audiences.

The scene inside the cinema was even more exciting.

At a multiplex cinema in Myeongdong, Seoul, the prime-time 7 p.m. showing was packed.

When Fan Xiaopang, playing the "savage girlfriend," delivered the classic "over-the-shoulder throw" to Deng Chao, playing "Wang Yonggan," the entire audience burst into laughter; but as the plot deepened and revealed that the female lead's "savage" behavior stemmed from her inability to overcome the shadow of her ex-boyfriend's death, a chorus of low sobs could be heard in the audience.

At the end of the film, the male and female protagonists reunite at the airport, leaving the audience with endless imagination with an open ending. As the movie ended, many young couples walked hand in hand, excitedly discussing the plot.

"I never expected Chinese movies to be so good!" A female student from Yonsei University said excitedly into her friend's interview microphone. "The female lead is so cool! She's beautiful and has a great personality. I wish my boyfriend was as obedient as Wang Yonggan!" Her boyfriend next to her scratched his head sheepishly.

This "wild trend" quickly spread from cinemas to offline channels.

Young girls began to imitate Fan Xiaopang's outfit in the film—a simple T-shirt paired with a denim vest or plaid shirt, tied up in a high ponytail, and trying hard to look "fierce".

Online, topics such as "What to do if your girlfriend is a savage girlfriend" and "How to become a boyfriend like Wang Yonggan" are being hotly debated.

Some variety shows have even started planning related discussion segments, inviting guests to explore this new type of romantic relationship.

The phone in Zheng Taiyuan's office rang incessantly, mostly requests from theater managers to increase screenings and advertisements seeking cooperation. Looking at the steadily rising box office figures and the almost unanimous positive media reviews, Zheng Taiyuan's tightly furrowed brow finally relaxed a little. He knew that this time, he had gambled correctly again.

……

the other side.

In Japan, "My Sassy Girl" (Japanese title: "私の蛮な彼女") is distributed by the powerful Shochiku Pictures and will be released nationwide on December 23, targeting the Christmas-New Year holiday season.

The Japanese market has a deep tradition and unique preference for romance films, especially those with a "pure love" theme.

In its marketing strategy, Shochiku cleverly combined the "savage" element with the "pure love" core that Japanese audiences are familiar with.

The tagline is: "Cry, laugh, and...fly away! The strongest romantic comedy from China!"

The poster design also highlights the good looks of the male and female protagonists and their dramatic interactions, downplaying the negative impression that "savagery" might bring.

Sure enough, the film quickly attracted a large number of young female viewers and couples as soon as it was released.

Although it couldn't compete with domestic national-level animated or historical drama films in terms of total box office during its opening weekend, it stood out in the romance genre and achieved very impressive results in theaters in major cities such as Tokyo and Osaka.

Japanese film critics generally consider "My Sassy Girl" to be an excellent entertainment film with a "novel setting and sincere emotions".

The Nikkan Sports film review stated: "This film cleverly incorporates the seemingly absurd concept of a 'violent girlfriend' into a heartwarming story about healing and growth."

The female protagonist's "savagery" is not unreasonable, but a form of self-protection under immense pain, which gives the film a touching power in addition to its hilarious moments.

This approach of exploring profound emotions within an extremely comedic setting is reminiscent of some successful Japanese manga adaptations.

Kinema Junpo focused on the film's cultural export significance: "For a long time, Japanese audiences have been exposed to mostly historical martial arts films or art films."

"My Sassy Girl" presents a modern, vibrant, and even trendsetting image of a Chinese city. Its success may herald the beginning of broader exchanges in popular culture between neighboring countries.

Outside a movie theater in Shibuya, Tokyo, a couple who had just finished watching a film were randomly interviewed.

The girl excitedly exclaimed, "Kawaii! The female lead is violent, but she's so cute and cool! The ending is so tantalizing, will they end up together? They definitely will!"

The boy laughed and said, "It's rare to find a male protagonist who likes a movie so much even after being beaten up like that. But the movie is really interesting, and it feels completely different from previous Chinese movies."

Japan's "barbaric" trend focuses more on the appeal of female protagonists who possess both "kawaii" (cuteness) and "strong" qualities.

Fan Xiaopang's fashion style, especially the hair accessories and backpacks she uses, has begun to appear in trendy shops in fashion hotspots like Harajuku and Shibuya. Some teen magazines have also quickly followed suit, analyzing the "savage girlfriend's" makeup and styling techniques.

(End of this chapter)