Super Zoo-Chapter 773 - 752: Only Two Movies
After acquiring Changhe Cinema, we undertook some simple renovations. Although we weren't aiming for luxury, we couldn't present ourselves to the world looking shabby. At the very least, it had to be clean and tidy. Aging equipment like seats that needed replacing was updated, all undertaken by a construction company, and the cost wasn't too exorbitant.
In terms of personnel, Shen Yan's technical department transferred a young man over to take charge of the cinema's core projection room. The film company reassigned two employees to handle internal management and external publicity planning. The remaining staff responsible for ticket sales and checks were all hired through a public recruitment process.
It went more smoothly than anticipated. In less than a week, the number of applicants far exceeded the number of positions available. These days, jobs are hard to find. Working at a cinema might not yield a high income, but it offers stability and relative ease. Sheltered from the wind and rain, with no high technical requirements—it essentially mirrors the nature of a service staff role but is much more respectable and pays relatively better.
On Monday morning, we officially opened for business. Suming didn't show up; Hou Longtao, acting as the general manager, performed the ribbon-cutting ceremony and gave a simple speech to the new and existing staff, as Changhe Cinema was officially renamed Taoyuan Cinema.
The other cinemas in Yangchuan City were supportive, some sent flower baskets, others sent representatives to offer congratulations.
The end of the year is when blockbusters converge, but in this context, "end of the year" typically refers to the first wave starting from Christmas, the second wave at New Year's, and the third wave at the Chinese New Year. Before these periods, the time after the National Day is actually a lull, with major releases waiting to cash in during the holidays.
The movies released during this lull are generally mediocre, with more than half not fitting the so-called commercial film category, leading to average box office revenues and unenthusiastic reactions. The movie market remains calm.
Worthy of note, however, are three movies.
"Master" directed by Xu Haofeng, and featuring Liao Fan, Song Jia, Jiang Wenli, and Jin Shijie in leading roles, uses a realistic approach to depict the martial arts world during the Republic of China era.
"Hundred Birds Towards the Phoenix," helmed by Wu Tianming, a leading figure from the fourth generation of Chinese directors, stars Tao Zeru, Zheng Wei, and Li Mincheng. The film tells the story of the decline of traditional art Suona in the face of modernity.
"Labyrinth of the Heart," directed by Xin Yukun with Shao Shengjie and Huo Weimin among the cast, narrates an absurd tale of bizarre occurrences in a remote village triggered by the inexplicable appearance of a corpse.
Compared to the other movies released during the lull, these three each have their own merits.
Xu Haofeng is a figurehead for a new era of martial arts films, in which the genre is not characterized by high-flying acrobatics or dazzling effects, but returns to the authentic appearance of martial arts—with precise, defined moves that might look 'ugly', yet represent the true face of folk combat. The characters in his martial arts films also break away from the traditional image of serving the country and the people, leaning closer to flesh-and-blood ordinary people.
Moreover, among the three films, "Master" boasts the most impressive cast. The four lead actors may not be as famous as today's top stars, but they are all solid actors with accolades to their names.
"Labyrinth of the Heart" utilizes multiple perspectives, combining flashbacks and regular storytelling with a style reminiscent of Western absurd realism. However, both the actors and the director are relatively unknown outside the industry, and in truth, most within the industry haven't heard of them either.
"Hundred Birds Towards the Phoenix," a film that promotes traditional cultural etiquette, gained notoriety due to its director's passing and the producer's online plea for support, asking people to buy tickets and kneel down, sparking a moderate controversy. This made it the most talked-about of the three films.
Additionally, there are eight other films released in the same period, forming the lineup for the lull.
Eleven movies in total, none of them big productions, and all were relatively affordable to license. Hou Longtao and Xin Linli watched them all, ultimately agreeing that the other eight were just filler—unremarkable whether they were included or not. Since Suming aimed to follow the 'good movies' approach, there was no need to acquire them.
Surprisingly, both Hou Longtao and Xin Linli agreed to choose "Labyrinth of the Heart" and "Master," but they decided to pass on "Hundred Birds Towards the Phoenix," which had the loudest acclaim.
"Hmm?"
Suming hadn't seen the movies, but this decision was somewhat unexpected.
All three films had an air of artistry, but "Hundred Birds Towards the Phoenix" was undoubtedly the archetypal art film and currently had a lot of buzz online. Its economic performance was likely to be not too shabby.
"From the perspective of a surefire return, 'Hundred Birds Towards the Phoenix' is indeed the most suitable. Considering the three selling points of traditional national culture, being the director's last work, and the producer's kneeling plea, audiences would likely buy a ticket out of sympathy." frёewebnoѵel.ƈo๓
This was Hou Longtao's first formal work report to Suming, and he was a bit nervous at the beginning. Suming smiled and nodded, signaling him to continue.
Hou Longtao took a sip of water and said, "However, as you have previously declared, the cinema does not prioritize profit above all. Setting aside all external influences, we are to select 'good movies.' Thus, the so-called traditional culture, last works, and kneeling pleas are ultimately external factors—or rather, a form of promotion—that don't determine whether a movie is enjoyable or not."
Suming, catching his implication, surprisingly asked, "Are you saying that 'Hundred Birds Towards the Phoenix' isn't good?"
Xin Linli was also in the conference room. Hou Longtao glanced at her, and they both nodded. Hou Longtao continued, "The theme is right, the intention isn't wrong, and the starting point is commendable, but... to be honest, it nearly put me to sleep. It's an outdated in style, clichéd in plot, with decent acting but stiff characters—it's politically correct but uninspired. Also, I've researched it, and much of what it portrays as traditional is actually fabricated."
"As for movies about the transformation of traditional culture, the best I've seen should be 'Sister Mei.' However, that's a truly pure art film without box office returns," Xin Linli casually remarked. "No one is harming traditional culture; people are just seeking better things. No one is harming movies that celebrate tradition; people just want to see better quality. 'Great Saint Returns' offered a new interpretation of tradition, and while not perfect, it achieved both critical acclaim and box office success. This film seems to be conflating traditional culture with feudal dross—I'm not optimistic about it..."
"For most directors, once they've made it big, it becomes difficult to create films that resonate with the grassroots," Hou Longtao added.
Suming was left bewildered by their passionate explanation. He hadn't seen the films, but the online sentiment was strong—anyone who dared to express such opinions publicly would surely be drowned in criticism, vilified as a traitor and enemy of national culture.
"Alright then, you're the experts in this area. Since I've entrusted this to you, it's your call to make," Suming said, nodding and half-jokingly added, "But keep these opinions between us. Don't go spouting them off outside or online, or we'll invite a backlash."
"Understood." Hou Longtao laughed.
Rivals in the same trade pay the most attention to Taoyuan Cinema's screening and scheduling—not the audience, but the other cinemas.
