Technology invades the modern world

Chapter 426 France, Not Wanting Any More Trouble

Warner Bros.' most profitable film of the entire 1960s was called "The Truman Show".

Philip K. Dick's script is even better than the original novel.

Philip K. Dick addressed some of the problems present in the original film.

It also provides a more complete worldview and introduces the concept of cyberpunk.

The Truman Show is a complete cyberpunk world, which explains why such a reality show attracts a global audience.

But Steve Ross is certain that they never worked with V.

They also dare not cooperate with V.

The V is linked to the deaths of Kennedy and Hoover, the Kremlin, and there are also clues pointing to the remnants of the Third Reich.

Warner Bros. is a film company, not an oligopoly.

His secretary, Terry, was equally baffled.

“I’m sorry, Mr. Chairman, I have never heard of such a thing.”

None of the executives from major cinema chains present were fools; seeing the reaction of Warner Bros. executives, they quickly understood what was going on.

Braco suggested, "Mr. Ross, I think that's just how unpredictable V's style is."

But I'm pretty sure the videotapes of the movie are somewhere at Warner Bros., quietly waiting to be discovered.

Why don't we let this gentleman go and look for it?

Braco pointed to the secretary standing next to Steve Ross and said, "Let's take a look at the videotape that V sent."

Steve Ross nodded. "Okay, I'm also curious what movie could have everyone here praising it so highly."

Is it better than our "The Truman Show"?

Braco shook his head: "It's a bit like The Truman Show."

But it gave me a special feeling, a feeling that we haven't had in past films.

Our past films told stories, but this one is more like conveying a feeling.

A feeling of resistance, freedom, and hope.

Although I don't know if it comes from V or is just using V as a gimmick.

But it's definitely a film unlike anything seen before.

There was a projector in the room, and the theater managers present quietly watched the trailer, which was less than three minutes long, with Steve Ross.

Steve Ross fell into deep thought, and after a moment said, "Sorry, folks, I think this movie is really great."

But in any case, I think we need to communicate with the White House first.

Instead of releasing it based on our own desires, simply for the sake of making money.

Our country is in enough chaos now; we need to return to the peace we once had.

About an hour later, Terry, with a strange expression on his face, hurried over to Steve Ross's side:
"Mr. Chairman, we found a letter from V and a re-inserted film tape in the warehouse."

The letter stated their hope that we would screen the film, and that any proceeds from the screening would be used to establish a foundation for humanitarian aid during the Vietnam War.

As Terry spoke, he handed V's letter to Steve Ross.

The letter was prominently titled: Senator Kennedy's Office.

It has a very V-style.

“Oh my God.” Steve Ross sighed, knowing without a doubt that he was in deep trouble.

He knew this was no ordinary matter.

This is no longer a simple movie, but some kind of signal that he cannot understand.

He waved his hand, signaling Terry not to speak, and then turned to the other theater executives.

"Ladies and gentlemen, that concludes today's meeting. I apologize, but this film requires us to spend more time evaluating it."

If you are willing to wait, I would be honored to work with you all.

The executives present exchanged glances, but no one said anything more.

Ross's reaction says it all.

Everyone tacitly got up and left, leaving only Braco still sitting there.

“Mr. Ross, I think you’d better consult the White House.”

In Washington, the lights in the West Wing of the White House remained on, a stark contrast to the complete darkness outside.

Steve Ross, with Terry by his side, carefully carried the box containing the film reels into a small screening room next to the Oval Office.

Nixon, Lin Ran, Kissinger, and several key aides were already waiting there.

Nixon took V's letter from Steve Ross, and after seeing the heading of Senator Kennedy's office at the top of the letter, he shook his head helplessly.

Because this approach is so V-style: it leaves you scratching your head, yet it seems to contain some information beneath the surface.

After reading it, Nixon handed the letter to Lin Ran.

Lin Ran glanced at it briefly and then handed it to Kissinger beside him.

He doesn't need to read it; he already knows what's written.

Because it was written by him.

He proposed using the proceeds to establish a foundation to aid civilians affected by the Vietnam War, a small compensation for further pushing the war forward.

After the staff members read the document one by one, the atmosphere became very heavy, and no one spoke.

Nixon signaled to White House staff that they could begin showing the movie.

Only the clicking of the projector broke the silence.

On the screen, a message slowly appeared: "This is a film dedicated to the people."

It depicts a dystopian future world where the government wields absolute power and the people live in fear.

A mysterious figure named V has emerged, whose mission is to challenge government authority and encourage people to resist oppression.

Then, the movie began.

This is a complete movie.

In the film, a totalitarian government rules the country, secret police are everywhere, and all dissenting voices are ruthlessly suppressed.

On a gloomy, rainy night, V, wearing a mask, appeared. He destroyed the old parliament building with an explosion and then rescued a girl named Eve from the secret police.

The film's visuals were incredibly impactful, from V's elegant fighting style to his philosophical dialogue, all of which captivated everyone present.

V showed Eve his underground gallery and explained his philosophy to her: freedom and the flame of thought.

As the film progresses, V's actions become increasingly daring.

He hacked into the government's radio station and delivered a powerful speech to the nation.

In his passionate speech, he called on the people to reflect, question, and ultimately, resist.

"The people should not be afraid of their government; the government should be afraid of its people." This line echoed in the screening room, causing everyone to fall into deep thought.

At the end of the movie, V sets the old parliament building ablaze with countless red roses, and the people of the entire country put on V's mask and take to the streets.

The lights in the screening room came back on, and everyone remained silent for a long time.

Ross and Terry stood there, barely daring to breathe.

They had never felt the pressure of power so closely.

This is the center of power in Washington.

An aide broke the silence: "This is inciting riots! Things are already chaotic enough, and V wants to push America into further chaos."

“Yes, this is a dangerous film,” another aide added. “It poses a challenge to the government’s rule, and the consequences would be dire if we made it public.”

The public has both positive and negative opinions.

But for the White House, V is nothing short of a source of chaos.

In the competition between the White House and the Kremlin, everyone is playing by the rules.

Even if there's something like SPY, the main thing is to keep it tacitly understood.

Even if it really was Soviet ambassador Dobrynin who shot Hoover with a pistol, and the White House had solid evidence, they wouldn't do it publicly.

They would communicate privately and pressure the Soviet Union to make concessions.

Without V, the White House could now be submerged and the problem solved.

How did things come to this point, where we are now in such a passive situation?

Nixon's staff didn't like V.

President Nixon sat motionless in his chair, his hands gripping the armrests tightly.

Kissinger fell into deep thought, repeatedly considering every shot and every line in the film, trying to decipher the hidden meaning of V.

“No,” Nixon said suddenly, his voice calm and deep, “that’s exactly what I want.”

Everyone looked at the president, their faces filled with confusion.

“This movie provides us with a perfect solution,” Nixon said with a hint of excitement. “It portrays V as a hero who pursues freedom and justice, a symbol of resistance against tyranny.”

All we need to do is convince the people that we are the government that truly pursues freedom.

Kissinger snapped out of his reverie and said slowly, “Mr. President, this is a dangerous gamble.”

If we screen this film, we might be accused of collaborating with a madman who assassinated Hoover.

"So what?" Nixon retorted. "Do we have any other choice now? The Kremlin has pushed us to the brink, and we have nowhere to retreat."

Either we are destroyed by their lies, or we use those lies to fight back.

He stood up and walked to the middle of the crowd.

"We don't just want to screen this film; we want to screen it as a documentary, a documentary about truth and faith. We want the world to see that we are not afraid of any challenge. We want the world to believe that the freedom we believe in will ultimately triumph over everything."

Nixon turned to Lin Ran: "Professor, what do you think?"

Lin Ran shook his head: "Mr. President, it can help us avoid the current public opinion dilemma."

We use a new hot topic to cover up the old one.

Is it V's autobiography? Or V's understanding of himself?

Regardless of whether this movie is from V or not.

Is it a self-directed and self-acted production by V or Warner Bros., or is it some other organization stirring up trouble?

These matters will be investigated by the FBI at a later stage.

None of it matters now.

We used this to cover up the series of controversies surrounding Hoover's death and to downplay it.

This is what it can achieve.

If this movie really is from V, and since V wants to be famous, then let's make him famous.

As for how to define V, that's our business.

Being misunderstood is the fate of those who express themselves.

He only provided the film; how we interpret it, how we portray him as an adversary of Soviet Russia, a figure who seeks its disintegration—that is our task.

Lin Ran's words gave the assembled staff a pleasant surprise.

“We can’t do that,” Kissinger insisted. “It’s too risky. We can’t guarantee how the public will interpret the film.”

If they see the totalitarian government in the film as our own government, then we will face an even more serious crisis of trust than we do now.

The Vietnam War has already instilled deep distrust of the government in the public; we cannot add fuel to the fire.

“What’s more,” Kissinger continued, “behind this film is a completely unpredictable madman.”

We cannot control him, nor can we predict his next move.

To cooperate with him is tantamount to dancing with the devil.

We cannot trade the stability of the entire nation for an uncertain future.

Lin Ran said quietly, "I'm sorry, Henry, the current situation is a million times worse than the unknown situation."

He turned to Nixon and continued, "Mr. President, right now, the most important thing for us is time."

We need time.

It will take time to achieve victory on the front lines of the Vietnam War, and only victory can cover up everything else.

Only victory can get us out of our current predicament.

The screening of this film will buy the White House the time it needs to achieve victory.

Of the team members present, Lin Ran and Nixon insisted on letting go, while the other staff members opposed it.

"Mr. President, this is a huge gamble. We cannot take this risk," Kissinger emphasized again. "Our allies are watching, and our every move will affect the entire free world."

Our insistence that Hoover did not cooperate with the Kremlin has already put us in a very passive position.

If we make it public, the situation will become even more unpredictable.

Nixon didn't say anything, but just rubbed his temples wearily.

He knew Kissinger was right, but he also knew that if they didn't take action, the Soviet propaganda offensive would continue to drag them into a quagmire.

Just then, the office phone rang urgently.

The White House secretary hurriedly answered the phone, and upon hearing the voice on the other end, his face instantly turned pale.

He turned his head and reported to the president in a trembling voice: "Mr. President, news from Paris."

That movie has already been shown in France.

The West Wing of the White House fell silent.

The heated debate just moments ago has now become meaningless.

V sent them more than just movies.

France's allies were the ones who stabbed it in the first place.

In Paris, on the Champs-Élysées, long queues formed outside cinemas. They weren't there to see a romance or a war film, but to see for themselves the movie known as "A Gift from V."

1969 was a passionate spring, not only because the chestnut trees in Paris were in full bloom, but also because the spirit of resistance flowed in the blood of Parisians.

Although the May 1968 storm was unsuccessful, the sentiments have not dissipated.

When the mysterious film reel was anonymously sent to Paris, the French government's reaction was quite different from that of the White House.

They did not hesitate, nor did they hold a secret meeting to assess the risks.

At the French Ministry of Foreign Affairs, President de Gaulle's advisors smiled knowingly upon seeing the contents of the film.

For them, this film is more than just a movie; it's a powerful diplomatic weapon.

The de Gaulle government's decisiveness was not accidental.

They knew that the core ideas in the film resonated strikingly with modern French history.

In the film, V uses explosives and roses to blow up the parliament building, a symbol of the old regime, which is strikingly similar to the many revolutionary movements in French history.

From the French Revolution of 1789 to the February Revolution of 1848, and then to the Paris Commune of 1871, the French Parliament building and the Bastille, a symbol of royal power, were both consumed by the anger and bloodshed of the people.

In the memory of the French, the revolution was not a simple riot, but a necessary baptism for liberty, equality, and fraternity.

"It's a huge joke that London and Washington are still arguing over a movie!" an official from the French Ministry of Foreign Affairs said in an interview, making no attempt to hide his sarcasm. "In France, the expression of ideas is sacred."

We are not afraid of any movies because our government serves the people and we have no secrets.

V in the movie is such a symbol.

He used explosives to annihilate the old order and roses to commemorate the fallen martyrs. He was not a simple terrorist, but a revolutionary, a mysterious figure who inherited the spirit of the French Revolution.

This proves our freedom and openness; we have no secrets and no shady dealings.

These words quickly spread around the world through the media.

At this point, the outside world was still unaware of what had happened.

In Paris, the audience erupted in cheers when V from the film appeared wearing a mask.

Every speech he gave, every philosophical line he uttered, elicited enthusiastic applause and cheers from the audience.

When the movie ended, people lingered, discussing every detail and metaphor in the film.

In Parisian cafes, students and intellectuals engaged in lively discussions about the themes of the film.

They believe that the dystopian government in the film is the best satire of the hypocrisy of countries like America and the Soviet Union.

Only we French are truly unique.

People in Paris believe that...

At 10 Downing Street in London, the English Prime Minister's face was as gloomy as a London rainy day. He looked at the newspaper reports about France and angrily crumpled the paper into a ball.

“Damn the French!” the Prime Minister cursed. “Are they insane? This movie is set in London! It will incite our people to doubt the government! If our police are out in the streets wearing those damn masks, how can there be any order in this country?”

England also received a gift from V.

Their choice was that it absolutely could not be shown in England.

The film is set in London, which could create negative associations for the public.

Moreover, compared to European countries such as France and West Germany, England's economy in 1969 was in a relatively difficult period.

England was facing a severe trade deficit at the time, with imports consistently exceeding exports, putting pressure on the pound's exchange rate.

Despite the government's attempts to control inflation and improve the balance of payments through austerity measures, the results have been poor.

High inflation and slow wage growth have impacted people's living standards.

Most importantly, 1969 marked the beginning of a 30-year conflict in Northern Ireland, with thousands of Catholics clashing with police in Derry, Northern Ireland. The conflict spread to other cities, including Belfast, and the English government was forced to deploy troops into Northern Ireland.

At this time, was "V for Vendetta" released?
Do you want to pour more oil on the fire if you think it's not hot enough?
But the release of the film in France undoubtedly put them in a very awkward position.

If they ban the film, it will make them appear afraid of the people and afraid of the truth, which would undoubtedly be the situation France wants.

But if they are released, it will further amplify the domestic unrest.

The White House Secretary muttered, "Gentlemen, what should we do? Public opinion is out of control."

A French official stated in an interview, "We and other liberal countries also received films from V, but they chose to screen them publicly, implying our hypocrisy."

Nixon did not answer; instead, he slammed the documents in his hand heavily on the table, making a loud noise.

Kissinger's expression was equally grim; he knew they had already lost the first round.

They originally intended to control this information war within their own rhythm and define "V" through strategy.

But now, V has become an out-of-control global event, and they have become the passive party.

It is also very likely to be linked to Hoover's death, making the situation even more passive.

“Professor,” Nixon’s voice was filled with frustration, yet also with a resolute helplessness, “our enemy is no longer just the Kremlin.”

What should we do? What can we do?

Lin Ran said firmly, "We need victory. Only victory can turn this around."

He stuck to his long-held views.

Nixon murmured, "Yes, we need victory, Professor. We have no other choice now."

Lin Ran thought to himself, "Didn't you already have no other choice?"

(End of this chapter)