In fact, Hong Kong films are not declining, but returning to normal. The prosperity of Hong Kong cinema itself has a special historical background.

In addition to the rapid development of Xiangjiang's economy after the 60s, it also has a lot to do with the long-term exile of mainland intellectuals in Xiangjiang. These intellectuals exist not only as creators, but also as consumers.

In fact, Taiwan also has a large concentration of intellectuals, but Taiwan has the factor of military control, and cultural creation is suppressed, and sometimes it is necessary to use the land of Xiangjiang to create. In other words, if there is a big China and hundreds of millions of people, there is only one place left in Xiangjiang to engage in art, and if it is not popular, it can only mean that Xiangjiang people are naturally stupid.

After the end of military control in Taiwan and the determination of the opening route in the mainland, Xiangjiang films have entered the peak, but this is actually relying on the commercial accumulation in the 70s and the creation of the new generation of filmmakers in the 80s.

Although mainland films have gradually overwhelmed Xiangjiang films, they still can't beat Hollywood, anyway, the whole world can't beat Hollywood, and Xiangjiang's shoddy and short-term gameplay in the past is only possible in a relatively backward place like India.

The peak of Hong Kong cinema was five years before and after 1990, and the time division was probably from 1985 to 1995. In the early 70s, Bruce Lee was equivalent to laying the foundation for Xiangjiang films, and 2001's "Infernal Affairs" announced the last glory of Xiangjiang films, and after the return of Xiangjiang in 1997, Xiangjiang films gradually declined.

Although this point in time is very cleverly stuck, the decline of Hong Kong films is mainly due to the industrial revolution in film technology in the United States, and when the industrial revolution in film technology in the United States is successful, it is the same as the countries of the modern industrial revolution, and immediately stands at the commanding heights of the industry.

In the late 90s, these works have been filmed: "Terminator 2", "Titanic", "Starship Troopers" and so on, around 2000, rice movies have fully entered the computer digital special effects movies, "The Matrix series", "The Lord of the Rings series", "Spider-Man" and so on.

However, the contemporaneous Xiangjiang films are still making kung fu action movies, police and gangster films, martial arts fantasy films, and comedy romance films, and the entire Xiangjiang film except for director Tsui Hark and director Zhou Xingxing (Shushan Biography and Shaolin Football), other Xiangjiang films have not realized the lethality of the backwardness of the film technology revolution.

The other is the small local market of Hong Kong.

With a population of just over 7 million in Hong Kong, plus more than 23 million in Taiwan, almost 30 million in population, and counting the invisible markets in Southeast Asia, Japan and South Korea, the consumption base of the film market is barely enough.

The commercial blockbusters of the late 90s in the United States often invested hundreds of millions of dollars, and the local market in Xiangjiang was too narrow to support such a huge investment.

Xiangjiang film has reached its peak, but talent has also flowed out, the Xiangjiang market is too small, and the mainland film market has not developed at that time. Male and female superstars such as Wu Yusen, Fang Long, Li Lianjie, Zhou Renfa, Michelle Yeoh and other male and female superstars have entered Hollywood one after another, and not only they have entered Hollywood, but also the elite team behind the Xiangjiang Film.

Although they are old when they wait for Fang Long and other superstars to return to Chinese movies, they have passed their peak. But the achievement is not only Jackie Chan's Oscar Lifetime Achievement Award, but also the spread of Chinese kung fu films to various countries around the world, becoming a business card and monument of Chinese pop culture.

The rise of the mainland market is also a reason, and the film talents of Xiangjiang have collectively gone north

After 1997, it has been 20 years since the mainland's reform and opening up, and its economy has developed rapidly, and the mainland has a huge market of 1.4 billion people. At that time, the market was not as good as it is now, but the box office of more than 200 million created by Zhang Yimou's "Hero" is not something that can be compared with Xiangjiang locally.

Therefore, the contemporaries of Xiangjiang filmmakers, except for kung fu superstars such as Fang Long and Li Lianlian, other Xiangjiang filmmakers collectively chose to go north for development.

After the collective northward movement of Xiangjiang film talents, the local talents of Xiangjiang are in short supply, the superstars of Xiangjiang kung fu action movies are aging, the actresses of the last century are married or old, the singers and idols are aging, and then the collective of Xiangjiang directors and elite talents go north, and the local talents of Xiangjiang are naturally facing the dilemma of a shortage of talents.

Coupled with the historical background, although there are many problems in the cultural industry in the border areas, the general trend is irreversible.

With the local superstars going to Hollywood, the old and the old, the elite talents going north, the local talents in Xiangjiang are not available, and the capital cannot support the blockbuster investment, so it will naturally flow away with the development of the mainland economy getting better and better, and the consumption of the film and television market is getting higher and higher.

This trend is like the wheels of the times, rolling forward, mercilessly crushing everything that stands in front of it. In terms of Chinese culture, this is the case for Xiangjiang films, and this is not the case for Taiwan's film and television music.

There are so many reasons and problems, even Mark, who has a golden finger and a large number of resources, cannot bring Xiangjiang Films back to its peak, at most, it is to use the current financial and technological advantages to seize the opportunity and get a share of the big fat in the mainland, as for returning to the peak era, it is impossible.

Mark has been in Hollywood for a long time, and he knows that his film industry system is strong, and the support at the national level is not comparable to that of any country, people shoot on warships on aircraft carriers, Air Force One in the Pentagon, and in the White House.

Mark's layout of Chinese films is to hope that it will become bigger and stronger and get a share of the world film market, not that he wants Chinese films to overwhelm Hollywood, the hegemony of Hollywood is linked to the world hegemony of the United States, this is the trophy of the winner, and others cannot envy it and cannot take it away.

In essence, Mark is a businessman, inseparable from the profit-seeking nature of capital, making movies must make money, this is a must, this film and television academy, which can be understood as a long-term investment, will eventually be given back to him in some way, which has nothing to do with ideals and feelings.

This super blockbuster is not just made to say that it is made, there have been many blockbusters on the street this year, "10,000 Years Before History" in March, and "Electronic World Battle 2" in May are even more discouraged by Disney.

Until the Pyra family and DreamWorks' nearly $185 million action-adventure blockbuster "Raiders of the Lost Ark 4: Kingdom of the Crystal Skull" came out, overtaking last week's champion "Prince Caspian" and reaching the top as scheduled. Last Thursday's four-day premiere of $126 million is a slight drop from the industry's estimate of $140 million, and it's certainly the most spectacular opening of 2008 so far.

Unlike the sluggish "Prince Caspian" last week, which pulled the overall slight rise, "Raiders of the Lost Ark" pulled the top 12 to climb by 33% as soon as it was released, and the overall market hit the highest figure this year with $167 million. Although it is not as good as the same period in the past four years when "Pirates of the Caribbean 3: End of the World", "X-Men 3", "Star Wars Prequel 3: Revenge of the Heath", and "Shrek 2" commanded the three armies, it is still an excellent number at the moment when a large number of strike American dramas have resumed broadcasting and gradually entering the finale of this season.

Raiders of the Lost Ark 4: Kingdom of the Crystal Skull" ranked third in film history (second only to Pirates of the Caribbean 3: End of the World and Harry Potter and the Order of the Phoenix) premiered in 4,260 theaters (Paramount in history), with an average of about $23,700 per theater and swept around 101 million in three days over the weekend, which is an extraordinary shot. 101 million premiere weekend results: second only to "Pirates of the Caribbean 2/3", ranking third in the history of action-adventure epics, second only to "Spider-Man 1/3", "Shrek 2/3", "Pirates of the Caribbean 3", "Star Wars Prequel 3", "X-Men 3", ranking 8th in the history of film history premieres in May;

On this basis, "Harry Potter and the Goblet of Fire" was added and slipped one place, ranking 10th in film history.

In addition, the cumulative Thursday earnings of 126 million, second only to "Spider-Man 2/3", "Star Wars Prequel 3", "Pirates of the Caribbean 2/3", "Shrek 2", "Hacker Empire 2", ranked 8th in all the history of film history four days before the premiere.

Thursday's premiere day of 25.04 million is second only to "Star Wars Prequel 3" and "Hacker Empire 2", ranking third in all history of Thursday premieres, and if you ignore the day of the week and the overall ranking, this data ranks 28th in all history on the premiere day of film history.

Because it effectively attracts moviegoers of all ages, and forms a long-term curve of "Thursday< Friday Sunday", so the peak Saturday of the four days is only 37 million second only to the opening Saturday of "Spider-Man 1/3", "Shrek 2/3", "Pirates of the Caribbean 2/3", "Star Wars Prequel 3", "Iron Man" The first day of the film season Saturday is the 9th in the history of the film history, and if the overall ranking is ignored by the day of the week, it ranks 22nd in the history of the opening weekend Saturday single day.

All in all, this is an exciting, but not surprising, relatively modest result, with the three-day weekend extended to four days on Monday Memorial Day, and five days in line with the series' tradition of "Thursday starters", which itself reduces the density of visitors from Friday to Sunday. On the other hand, although most schools have been closed, if you want to attract all the young people who are busy with parties to celebrate the coming of the holidays, you will have to take your time. As a result, "Raiders of the Lost Ark 4" debuted with a "relatively low-key" 1.01/126 million debut results - I look forward to this optimistic "box office champion of the year, the top seed player" from all walks of life, to tell you the answer with next week's decline.

Compared with Paramount's cheers, the Disney camp may be in tears, and "The Legend of Narnia 2: Prince Caspian Case" repeated the tragedy of "Superman Returns" in front of "Pirates of the Caribbean 2: Coffin", leaving the team that broke through the 200 million mark early with a huge drop of 58.2%. The cumulative income so far is 91 million and the average of only 5,900 for a single theater this weekend shows that the box office range of "Prince Caspian" is likely to be around 150 million.