In the entertainment industry, everyone has been reborn, but who will be their servant?

Chapter 54 Become famous
Upon hearing that there were no tickets, Liu Xiaoli tilted her head and gave her daughter a helpless expression.

It has to be said that although Liu Xiaoli is old, her mannerisms and speech are sometimes quite similar to her daughter's.

“It’s okay, let’s go look at other stores, let’s go to Wanda Plaza, they’ll definitely have some.” Liu Yifei didn’t give up and dragged her mother to another store.

So the mother and daughter went to Wanda Cinema, where there were even more people, many of whom were there for the movie "Fame and Fortune".

Many people leaving the movie theater breathed a sigh of relief, as if they had just recovered; others had tears in their eyes, as if they had been deeply moved.

"Mom, you wait here, I'll go buy the tickets." Liu Yifei said and went to buy the tickets.

Not only them, but also the main creators such as Shen Ao, Zhang Linke, and Zhang Songwen watched the film in other cinemas and schools.

Simply because they knew the plot of the movie and had a different feeling about it.

This emotion is even deeper than that in "Nightclub" and "12 Citizens".

While the mother and daughter were watching the movie in the theater, and while they were watching the movie in different places, film critics and media people shared their thoughts on the film.

"I was deeply moved. This is a very inspiring movie. The producer leads a group of disheartened filmmakers to make a name for themselves, which is very similar to the real-life CEO Xuan leading a group of reckless young people."

But when they uncovered the bloody truth behind the case and suffered oppression from those in power, especially after witnessing a female artist being humiliated by the three elders, their motivations changed.

The purpose of making the film is no longer for personal fame and fortune, but to "tell the truth" and to prevent the voices of the innocent from being completely silenced.

The ending is filled with a sense of tragedy. Art may not be able to overcome power or change the predetermined tragedy, but it has a responsibility to become a tombstone, recording those people and things that were tried to be erased.

This in itself is a form of "making a name for oneself," a form of making a name for oneself based on conscience.

Just like a film director in real life said, if they don't change, then he'll have to revolutionize their industry—isn't that a helpless cry?

This film review was published in Cinema Art.

Meanwhile, Liu Yifei and Liu Xiaoli, who were in the movie theater at the same time, also saw what kind of story the movie was about.

The movie opens in a mansion in the style of the Republic of China era. Many of the exterior scenes were cut from the original version, which was unavoidable due to limited budget.

It's a story-telling movie, so removing outdoor scenes won't affect the plot. As long as the characters' identities are revealed through dialogue, that's fine.

Screenwriter Li Jiahui is rational and critical; director Zheng Qianli, known for his bad films, is worldly and slick.

Guan Jingnian, a washed-up star who is shrewd and good at flattery; Su Mengdie, a glamorous but washed-up actress; Qi Leshan, the murderer; and a rookie policeman, among others.

The filmmakers started by discussing how to adapt and film the case of the three elders that occurred six months earlier, and the discussion process also satirized some things.

For example, the screenwriter being impersonated, and the formulaic approach of bad movies combining gunfights and romance, are all satirical of the present day.

In the movie, the three elders are the leading figures in Shanghai's finance, shipping, and industry sectors, representing the powerful and wealthy.

They were having a good discussion when they discovered the murderer was right in front of them. They immediately lost their composure, and a conflict arose among them, leading them to a dance hall.

It was on the stage of the courtesan competition that a girl named Nightingale was introduced.

Here Su Mengdie said, "You can't see or understand how much hardship and risk a young girl has to endure to stand on the stage; you can only see that she's pretty."

This is an allusion to the unspoken rules of the entertainment industry. Liu Yifei, silently watching the big screen, felt the deepest emotions.

Liu Xiaoli was also drawn into the film. Although she had always distanced herself from the entertainment industry, it was precisely because she knew what was going on that she had done so. The other audience members stared intently at the big screen, their expressions blank.

Meanwhile, Shen Ao, Zhang Linke, and others were also silently watching the movie. They saw on the big screen that everyone realized the mansion was the crime scene and was about to run away.

The producer could only laugh and explain that he had spent money to buy the location as a selling point for the film, a recreation of the original setting.

But the director exposed him, saying that he had trapped them in this place to force them to finalize the script, and then he would take the script to other film investors to raise money.

This enraged the producer, who, like Qin Xuan, delivered a passionate speech:

"Don't you know what kind of people you are? The reason I came to you is because I believe you're capable. I've risked everything, even bringing in murderers. I'm risking my life. I'm not doing this to prove myself; I just want to show people that what I've lost, I will get back."

This passage is not only a tribute but also a satire, much like the scene when Qin Xuan recruited them.

That's why they came to see this movie; even now, it still resonates with them and evokes strong emotions.

Zhang Linke tilted his head and said, "Art comes from life, and President Xuan's life is quite rich."

“Yes,” Shen Ao nodded.

The two felt that Qin Xuan was filming this scene to depict their past experiences.

Actually, Qin Xuan just copied it; he didn't think much of it.

The next scene on the big screen shows the group discussing the details of the case, which is another metaphor.

The director didn't credit the screenwriter to protect him, because he had offended the Kuomintang's secret police. Not being credited meant he could still make a living, which was better than being completely blacklisted.

As the relationships among the group improved, the truth behind the Three Elders case was gradually revealed, and the murderer Qi Leshan was also exposed; he was no longer a "murderer."

Rather, they were guardians protecting their adopted daughter's reputation.

When the audience discovered that the hooks on the roof were not decorations, but were used to hang people up, to suspend dancers and singers for the "three old men" to abuse and enjoy.

The audience could imagine the scene and were all shocked. Some gasped and stared wide-eyed, while others covered their mouths and clenched their fists, feeling that their worldview had been shaken.

This echoes what I just said: a young girl who wants to stand on the stage has to go through a lot of grievances.

"No wonder this film is set in the Republican era. If it were set today, it wouldn't pass censorship at all," someone murmured.

"It's absolutely outrageous!"

Although the movie is about a case, it is full of metaphors.

Liu Yifei was deeply moved and held her mother's hand, feeling fortunate to have her mother protecting her. Liu Xiaoli sensed this and patted her daughter's hand to comfort her.

It's not that she doesn't understand the movie, it's just that she doesn't explain or talk about many things. Some people are saying things about her and Chen Jinfei.

Can your explanation make sense? Many people simply don't believe what you're saying; they only believe those outlandish guesses.

Just like in the film, Qi Leshan's dismemberment is a fabrication of lies, using the public's interest in sensational events to divert attention.

There are many aspects to this film; different experiences lead to different understandings.

(End of this chapter)