Chapter 761

Chapter 761

On the second day of the Lunar New Year, just after the New Year, when people are still immersed in the joy of the Spring Festival, as filmmakers, this year is the real beginning of the busy season.

Since the 80s of the 20th century, some stars in the Hong Kong entertainment industry will spontaneously get together at the end of each year and make a few lively and joyful films for the audience.

Seeking joy and relaxation is a common psychological need of the audience during the New Year's holidays, especially during the Spring Festival, which determines the style of the Chinese New Year film: relaxed, humorous, with strong viewing and entertainment. Therefore, its themes are mostly related to the life and customs of the people during the festival and blessing, and the form is mostly comedy and action movies with strong entertainment and pastime.

Most of these films are named after words that symbolize auspiciousness such as "Wishing you prosperity", "family happy events", and "Fulu Suxi", and the content basically meets the following two points: first, comedy, and secondly, there is a relatively happy ending.

In China, Xiangjiang is the place that is most capable of creating entertainment myths, and the emergence and growth of Chinese New Year films in Xiangjiang not only creates a schedule for Chinese people in a sense, but also gives Chinese films a new opportunity for development.

In the early 80s, it was the formative period of Hong Kong's Chinese New Year files, although the concept of Chinese New Year was still relatively hazy at the beginning, but the success of the comedy "Modern Bodyguard" written, directed and acted by Xu Guanwen in 1981 undoubtedly made the later "Chinese New Year films" set a banner, so everyone focused on the genre of comedy.

It can be seen from the cast of Chinese New Year films in the 80s of the 20th century that the performers who participated in the performance during this period were basically some artists who were good at performing comedy.

For example, Dong Biao and Shen Dianxia in the "Rich and Powerful" series, as well as Wu Yaohan and Zeng Zhiwei in the Chinese New Year film "Lucky Stars" directed by Hong Kong director Hong Jinbao, which mainland audiences first came into contact with.

The selling point of the Xiangjiang Chinese New Year films during this period was completely the funny content and the acting skills of the actors, rather than the popularity of the artists. In the late 80s, Chinese New Year films starring popular idols began to appear, such as "Eight Star Annunciation", "Lucky Star Gongzhao", "Citi Shaolin" starring Zhou Yunfa, etc. Zhang Manyu has participated in the performances of Chinese New Year films such as "Wealth and Auspiciousness", "Happy Events in the Family", "Three Heroes of the East", and "East Becomes West".

In the 90s of the 20th century, it was the maturity and heyday of Xiangjiang New Year films, and Chinese New Year films almost became a touchstone for getting a glimpse of the artist's popularity back then.

The cast of Chinese New Year films can not only predict the box office of the film, but even become a potential rule for the operation of Hong Kong-made Chinese New Year films. When it comes to the Xiangjiang New Year movies in the 90s, I have to mention two people, one is the king of nonsense Zhou Xingchi, and the other is the god of action comedy Cheng Long.

In the 90s of the 20th century, the Xiangjiang Chinese New Year market was the world of Zhou Xingchi, at that time, nonsensical comedy quickly became popular, and Zhou Xingchi naturally became a frequent visitor to Chinese New Year films, and works came out during the Lunar New Year almost every year.

Like "Tang Bohu's Autumn Fragrance", which won a box office of 40 million in 1993, "Journey to the West" with 45 million in 1995, "Secret Detective Zero Hair" with 36 million in 1996, "Happy Family" with 48 million in 1997, "The King of Comedy" with 30 million in 1999, etc., are all New Year's gifts presented by Xing Ye to the audience, and each of them is one of the highest-grossing Hong Kong films of the year.

Cheng Long, who has always been the pillar of Hong Kong films, intervened in the field of Chinese New Year files later than Xing Ye, but his intervention made New Year films take a new turn.

At the end of 1995, Cheng Long's "Red Fan Zone" became the first "Chinese New Year film" to be officially introduced to the mainland, with a box office income of 80 million yuan, which shocked the mainland film market, which has been sluggish at the box office.

In 1996 and 1997, Cheng Long took advantage of the success of "Red Fan Zone" to launch Chinese New Year films such as "Platinum Dragon" and "Righteous Kitchen Star" in the mainland, and they also frequently succeeded, which gave great inspiration to mainland filmmakers.

Chinese New Year films have almost become a New Year's custom in Chinese areas, but the Xiangjiang New Year films in the 21st century have lost the advantage of one person's dominance, and the mainland and Hollywood have woken up from the chaos, so the three have opened another battlefield of movies in the New Year file.

Xiangjiang filmmakers have always carried out the "Chinese New Year" to the end, but the Chinese New Year stalls in the new century are no longer a one-person market. In 1997, Feng Xiaogang's first Chinese New Year film "Party A and Party B" came out, so that the mainland Chinese New Year film began to have its own life and spirituality, and Hollywood also realized the excellent commercial opportunity of the Chinese New Year file and rushed over.

At this time, the Chinese New Year in Xiangjiang was a little helpless, the big scenes and big productions were defeated by Hollywood, and its consistent comedy style was challenged by "Feng's humor", although there are many Xiangjiang filmmakers who can aspire to produce good films such as "Kung Fu" and "Infernal Affairs", but due to the frequent appearance of bad movies, it is really difficult to protect the absolute main position of Xiangjiang.

The success of "Party A and Party B" at the box office led to the Chinese New Year film war in the following years, and more and more well-known directors joined the ranks of directing Chinese New Year films.

Everyone thinks that the Lunar New Year is the easiest period to win box office results, and they think that the Lunar New Year is an auspicious period, so many people want to launch their own works through this time period. However, there are too many films, and the market space has become smaller, and now everyone pays special attention to the promotion and creation of New Year films, which makes the New Year schedule extremely popular.

This year's Lunar New Year file is naturally no exception, "Ink Attack", which was promoted early, "The City is Full of Golden Armor" created by Zhang Yimou, "The Great Gold Robbery" by Ning Hao's re-transformation, and of course, Song Zheng's highly anticipated "Lao Paoer" is indispensable.

The Lunar New Year war has just begun, and what is presented is a state of gunpowder, which was originally scheduled to be released on the fifth day of the Lunar New Year, "The City is Full of Golden Armor", without warning, adjusted the schedule without warning, and was released on the first day of the Lunar New Year.

Immediately following the second day of the Lunar New Year, the other two much-anticipated "Lao Paoer" and "Ink Attack" also held their premieres on the same day.

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