Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 412, Section 410: A Flowery Sedan Chair Carried by Many? (Part 2)
Wang Sheng did not shy away from the film's subject matter, but instead gave it high praise from the perspectives of artistic courage, performance, and historical record, using precise and respectful language.

But his real thought was that this thing was just as bad as "Crouching Tiger, Hidden Dragon".

Not much to say.

Director Guan Jinpeng looked somewhat relieved and grateful from the audience.

"The Ghostly Human World"

Wang Sheng continued, "Another work by director Ann Hui with a very different style."

It skillfully combines horror elements with the emotional alienation and inner guilt of urban dwellers, rather than simply scaring people for the sake of scaring.

Shu Qi's performance was nuanced and layered, convincingly portraying a woman teetering on the edge of yin and yang. This exploration and innovation in the genre deserves encouragement.

"Fall in Love with Me" is a work full of youthful energy and vitality. The director's capture of the state of young people is very real, without being sentimental or pretentious, showcasing the vitality and potential of the new generation of Hong Kong films.

Finally, his gaze fell on a clip from "Shaolin Soccer".

"Kung Fu Soccer"

Wang Sheng's voice carried a hint of barely perceptible laughter, which made Stephen Chow sit up straight. "Stephen has boldly fused his signature nonsensical comedy with elements of kung fu and sports."

The film is full of boundless imagination and vibrant energy.

He told a story about dreams, perseverance, and the underdog's rise to success in the most accessible and entertaining way.

I believe that everyone here has laughed in the theater, and may even have been moved by the final competition.

He succinctly summarized the elements of the film's commercial success and its universal emotional core.

Many filmmakers in the audience, even those who had reservations about Stephen Chow's style, had to admit the huge market influence of "Shaolin Soccer".

However, just when everyone thought he would praise the previous four films as he did, Wang Sheng suddenly changed his tone and became sharp. His clear and accurate Mandarin made his criticisms even more penetrating.

"but,"

He surveyed the room with a sharp gaze, saying, "If we look at the criteria of the 'Best Film' award, which represents the highest achievement of Hong Kong cinema in a year, I believe that these five films all reflect some of the deep-seated problems that Hong Kong cinema is currently facing."

As soon as this statement came out, everyone in the audience was shocked!

Even Zeng Aizi, Wu Yusen, and Anita Mui on stage showed expressions of astonishment.

"While 'Men at Forty' has high artistic merit, are its themes and pacing too far removed from the average viewer? Does it indulge somewhat in the self-indulgent sentiments of intellectuals?"

"Lan Yu is commendable for its courage, but the limitations of its subject matter mean that it is destined to be difficult to gain wider resonance and recognition, and it will even encounter many difficulties in its dissemination."

"The Ghostly Realm deserves recognition for its genre exploration, but as a niche genre, is the horror film sufficient in terms of thematic depth and social impact to bear the weight of 'best film'?"

"Fall in Love with Me" is full of energy, but as a new work, has it reached its peak in terms of production scale, script maturity, and industrial completion?

As for *Shaolin Soccer*,

Wang Sheng glanced at the slightly nervous Stephen Chow, "It was extremely successful commercially, and its special effects were a milestone for Hong Kong films."

However, I must say that the film relies too much on Stephen Chow's personal comedic style and special effects spectacle. Is there any compromise in terms of story logic and the depth of character development?

Has the pursuit of entertainment value come at the expense of a more solid foundation in the script?

For each film he reviews, he points out its potential weaknesses or limitations inherent in its genre or subject matter, using precise, even sometimes harsh, words.

The scene fell silent. Those who had nodded in approval earlier now wore complicated and awkward expressions.

Wang Sheng's commentary, like a scalpel, dissected the various dilemmas and awkward situations faced by Hong Kong cinema in its pursuit of artistic merit, commercial survival, genre exploration, and the cultivation of new talent. "I'm not saying these films are bad,"

Wang Sheng's tone softened slightly, but remained firm: "On the contrary, they are all outstanding representatives in their respective fields."

I just want to say, when we use the standard of 'best film' to measure, what kind of work are we looking for?
Is it an artistically impeccable masterpiece, but one that is too sophisticated for the general public?

Is it a bold work with a daring theme but a limited audience?
Is it an attempt at genre innovation but with a slightly inferior scope?

Is it a promising but still somewhat immature new voice?
Or will it be a commercially huge success but potentially artistically compromised blockbuster?

The questions he raised struck a heavy blow to the hearts of every filmmaker in Hong Kong.

This is precisely the core issue that has plagued Hong Kong cinema for many years, and also the core issue that has plagued Chinese-language cinema for many years: how to find a balance between commerce and art, tradition and innovation, local and a broader market, and to make a "best film" that is both critically acclaimed and commercially successful, and that can represent the spirit and industrial standards of Hong Kong.

Wang Sheng paused for a moment, giving everyone time to process the information, before slowly speaking, his gaze sweeping over the names of the five films on the stage: "So, if I absolutely had to choose one..."

I believe that a film that can unite audiences to the greatest extent possible during this difficult time, boost market confidence, demonstrate the indomitable and innovative spirit of Hong Kong cinema, achieve technological breakthroughs, maximize the unique entertainment spirit of Hong Kong films, and successfully 'go global' to gain wider attention—"

He deliberately drew out his voice, and the entire room fell so quiet you could hear a pin drop.

"Shaolin Soccer may be a more symbolic and realistic choice at this juncture."

He didn't say "the best in terms of art," but emphasized "symbolic significance" and "realistic significance." The logic behind this conclusion is crystal clear: during the downturn of Hong Kong films, what was needed was a shot in the arm like "Shaolin Soccer," rather than other more artistic but potentially more "niche" works.

After he finished speaking, he gently said "thank you" into the microphone, then handed the microphone back to the staff member and calmly returned to his seat.

After a brief moment of deathly silence, applause erupted in a complex and varied manner.

There were excited cheers from the "Kung Fu Soccer" crew, as well as polite applause from other crews and industry professionals, some even tinged with contemplation and a hint of resentment.

His clear Mandarin, along with his undisguised and straightforward analysis and value judgments, stood out in the predominantly Cantonese-speaking venue, even sounding somewhat jarring. It precisely touched the sensitive and complex nerves of many Hong Kong filmmakers present.

Wang Sheng's sharp and direct comments were like a boulder thrown into the already turbulent night sea of ​​Hong Kong, stirring up countless waves.

He successfully used the Hong Kong Film Awards stage to not only comment on the films, but also to deeply expose the pain points of Hong Kong films and even Chinese-language films, and clearly revealed the commercial blockbuster route advocated by himself and his faction, which is market-oriented and takes into account both technical and genre innovation.

On stage, Wu Yusen and Anita Mui exchanged a glance, both seeing complex emotions in each other's eyes.

Zeng Aizi touched his nose, feeling as if he had ignited an unexpected powder keg.

The envelope was finally opened.

"The Best Film at the 21st Hong Kong Film Awards is—" Anita Mui took a deep breath and uttered the name that seemed to have been expected by many, yet was made all the more so by Wang Sheng's words:

"Kung Fu Soccer!"

The audience erupted in applause, and the spotlight once again focused on Stephen Chow and the cast and crew of "Shaolin Soccer".

They cheered as they went on stage, but their joy seemed to be mixed with a subtle emotion after Wang Sheng "pointed out" their true feelings.

Wang Sheng sat in the audience, clapping.

He knew that after tonight, his "villain" image in the Hong Kong film industry would likely become even more deeply ingrained in people's minds.

But that's exactly the effect he wanted—to break the lukewarm politeness and redefine the rules of the game with strength and the power of discourse.

He spoke in clear Mandarin, making sure that everyone, including mainland viewers and industry insiders who might not understand Cantonese, could clearly hear his voice, his judgment, and the unstoppable market force he represented.

Many people in Hong Kong are destined to have a sleepless night.

(End of this chapter)