Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 455, Section 453: Furious

December 2002 was a month of mixed fortunes for the Chinese film market.

Flames are almost exclusively associated with "Night at the Museum".

Since its global release on December 13, this fantasy fire, ignited by Wang Sheng himself, has swept across the country like wildfire. Its box office of nearly 12 million yuan in its opening weekend not only broke various records, but also acted as a shot in the arm, injecting vitality into the cultural industry, which was somewhat apprehensive due to China's accession to the WTO, proving that "endogenous growth" and "cultural confidence" are not empty talk.

The following weekend, despite a slight drop in weekday box office, the box office performance remained remarkably strong thanks to its rave reviews and its undeniable "family-friendly" appeal.

The film's rating of 9.3 on the Maoyan movie platform remains unshaken, and the theaters are packed with families and friends. The "challenge to Titanic" has evolved from a media headline into a collective carnival of mass participation.

In stark contrast to this raging fire was the chilling cold felt by "Hero" and the forces behind it.

The announcement of the withdrawal of the film did not quell the storm; instead, it became a target, attracting even more intense and sharp attacks.

Sheng Ying Media's public relations department operated efficiently, firmly attaching labels such as "imitating 'Crouching Tiger, Hidden Dragon'", "form over content", "empty narrative", "detached from the masses", and "lacking cultural confidence" to "Hero", and repeatedly reinforcing these labels through its controlled media matrix and emerging online channels.

These arguments are not unfounded; they accurately pinpoint the weaknesses that emerged after the preview screening of "Hero" in Shenzhen, and stand in stark contrast to the success of "Night at the Museum," which was rooted in local culture and featured innovative storytelling.

At a time when nationalistic sentiments have been greatly aroused by "The Museum," such criticism is very likely to resonate with the audience.

The label of "surrenderist" was once tried to be pinned on Wang Sheng by some people in July, but now, under the clever guidance of public opinion, it is being subtly applied to Zhang Yimou and his film "Hero." However, this time the object of the "surrender" has changed from the abstract "West" to the more specific "Oscar judges" and "overseas aesthetics."

The atmosphere inside the New Pictures Film Studio's office was as oppressive as the freezing cold outside.

"Nonsense! It's all fucking nonsense!" Zhang Weiping slammed a newspaper onto the table, the ink-printed headline "Hero: An Imitation Show of an Oriental Wonder Lost on the Road to the Oscars" standing out starkly.

"What do they know? Have they even seen the finished film? How dare they slander a work that cost 30 million US dollars and embodies the hard work of countless people, based on just a few comments from a test screening?"

His chest heaved violently, and the whites of his eyes were bloodshot.

The huge investment in publicity and promotion in the early stage has gone down the drain, and now he has to endure this overwhelming negative public opinion. It feels like he has been stripped naked in public and then spat on.

"Mr. Zhang, calm down," the publicity manager tried to soothe him. "The public opinion is currently against us; a direct confrontation might be..."

"Not touch it? Are we just going to let them smear us?" Zhang Weiping abruptly interrupted him, his voice hoarse. "Contact media outlets that have good relations with us, issue a statement, and strongly condemn this irresponsible speculation and slander! Emphasize that 'Hero' is an oriental aesthetic feast that we have devoted our efforts to creating, and a truly international art blockbuster!"

Similar statements have been issued by New Vision more than once in the past few days.

But the effect was minimal.

Faced with the frenzy sparked by "Night at the Museum" and the precise public opinion guidance of Sheng Ying Group, these defenses appeared pale and powerless, and were even ridiculed as "a death throes" and "desperate."

What frustrated Zhang Weiping even more was that the reaction of director Zhang Yimou only made things worse.

After an unavoidable public event, Zhang Yi was cornered by reporters who had been waiting for him.

Faced with a barrage of questions about the withdrawal of "Hero," accusations of imitation, and narrative controversies, the usually composed master could no longer maintain his usual calm.

"The quality of a film should be judged by the audience after they've seen it, not by making conclusions based on fragmented information before its release." His tone was harsh, with obvious displeasure. "The practices of some colleagues and media outlets have disappointed me greatly. This is not a healthy competitive environment."

When a reporter pressed Zhang Yimou on whether he felt that "Hero" was being "maliciously targeted," Zhang's face turned ashen. He did not answer directly, but coldly retorted, "The innocent will clear themselves."

He then hurriedly left, escorted by his assistant.

"The innocent are innocent? What kind of attitude is this?" "He was hit where it hurt, and he's angry and embarrassed now?" "It seems even the master can't stand the pressure of public opinion."... Zhang Yi's response was not exactly out of line, but it was definitely not appropriate. After being amplified and interpreted by the media, it further fueled the wave of criticism.

Is it the flagship of domestic commercial blockbusters? Night at the Museum is carrying this flag and marching forward triumphantly.

Is "Hero" a benchmark for domestic art films? It is now mired in the quagmire of "imitation" and "formalism".

A milestone for domestic special effects blockbusters? The visual spectacle of "Night at the Museum" has received widespread acclaim.

Zhang Weiping felt as if his cards were being played one by one. The banners that "Hero" relied on for its momentum seemed to have been pulled down overnight and replaced with the "Produced by Sheng Ying" logo. This all-encompassing suppression left him with a deep sense of powerlessness and anger.

He wasn't oblivious to the invisible hand pulling things together.

From the precise positioning of "Brotherhood of Blades" to the global simultaneous release of "Night at the Museum," and now to the media storming against "Hero," each step is interconnected and relentlessly pressuring the other.

Wang Sheng and his Shengying Media have demonstrated not only commercial success, but also a ruthless struggle for and reshaping of the industry's niche.

……

In some lesser-known corners, the controversy surrounding "Hero" has also attracted deeper attention and displeasure.

Inside a secluded private club in the capital city.

Several distinguished-looking middle-aged men, clearly long accustomed to high positions, sat around sipping tea. The room was filled with the fragrance of sandalwood, yet the atmosphere was somewhat somber.

“This Wang Sheng is ruthless.” One of them spoke slowly, his voice low. “With the way ‘Hero’ has done this, many things will be difficult to handle later.”

"Crouching Tiger, Hidden Dragon opened a door, allowing the West to see the 'Oriental beauty' they had imagined. This is cultural export and also part of soft power."

Another person chimed in, tapping the teapot lightly with their fingertips, "Hero originally intended to follow this path, using grander scenes and a top-notch cast to further solidify this impression, knock on the door of the Oscars, and pave the way for more... similar collaborations in the future. Now, with his meddling, the labels of 'imitation' and 'pandering' have been attached to it, and the whole thing has changed."

"His 'Night at the Museum' is another form of 'cultural export'." The third person's tone was unreadable. "It packages our cultural relics and history in a Hollywood style, making it seem exciting, but what about the core? How much of our own culture can be preserved? Is this kind of export ultimately beneficial or detrimental?"

"The key is that he is currently riding high and public opinion is on his side. He criticizes 'Hero' for 'lacking cultural confidence,' yet he himself has achieved great success with films that are closer to the Hollywood model. This is a paradox in itself, but the public buys into it."

The first person to speak sighed, "His logic of 'commercial value equals justice' has muddied the waters."

The "blockbuster route" we previously promoted, which prioritized art and aesthetics and carried specific cultural core values, was deconstructed by his purely commercial success. It will be much more difficult to justify using terms like "art blockbuster" or "cultural mission" in the future.

"I heard that his next step is to promote the 'Maoyan' platform and completely change the ticketing and distribution process... This guy has big ambitions."

The room fell silent again.

Wang Sheng's rise, and his completely market-driven, even somewhat "barbaric", competitive approach, disrupted the carefully laid plans of many.

The predicament of "Hero" is not just about the success or failure of a film, but also about the possibility that a certain path may be questioned and certain resources may be redistributed.

"Let's wait and see." Finally, someone made the final decision: "Isn't the global box office for 'Night at the Museum' coming out soon? Let's see if it can be as invincible overseas as it is domestically. If so... then some strategies might need to be adjusted."

……

Time, amidst the clamor and undercurrents, quietly arrived at Beijing time on December 21, 2002.

For China, it was an ordinary Saturday, and cinemas were still packed with people, with "Night at the Museum" continuing its box office success.

Meanwhile, on the other side of the ocean, in the United States, Friday, December 20th, the commotion had just subsided.

Film markets in North America and many other regions around the world have concluded their first full week since the release of "Night at the Museum".

All eyes were involuntarily drawn to the opening week box office figures that were about to be compiled from around the world.

This is not just about how much money a movie can make; in many people's eyes, it is more about the outcome of a contest over paths, models, and the power of discourse.

Can "Night at the Museum" replicate its domestic success overseas? Can Wang Sheng's "Oriental fantasy" truly captivate Western audiences? Can this raging fire in China also spread globally?

The answer will be revealed soon.

(End of this chapter)