1979: The child's mother is a celestial being.

Chapter 123 Film Screening and Visit to the Film Selector (Please Subscribe!)

Wu Tianming has returned with his new film, "The River Without Beacon".

The film is adapted from the novel of the same name by Ye Weilin, which was published in the magazine "Furong" last year.

The novel became a hit as soon as it was published, and then Wu Tianming took a liking to it. Old Wu also found the original author to be the screenwriter and then adapted it into a movie.

Does this recipe look familiar?
Isn't this the same model as Han Sanping and Chen Fusheng's first collaboration, "Cow"?
So Wu Tianming just copied the 'formula' directly?

Actually, that's not entirely true. In the early 1980s, this model was not an isolated case in the Chinese film industry; in fact, it could be said to be a creative path with distinctive characteristics of the era.

During this period, the distinction between writers and screenwriters was not as clear-cut as it is now. Many directors, when adapting novels by living authors, tended to invite the original authors to participate in the scriptwriting process, as if only in this way could the core spirit of the original work be preserved to the greatest extent.

Besides "The River Without Beacon," other films that later became classics, such as "The Black Cannon Incident," "Daydreaming," "Red Sorghum," and "The Troubleshooters," all followed this path. This is both a trust and an acknowledgment of the status of literary elements in film.

"Director Chen, do you have time? I'd like to invite you to a movie."

Wu Tianming extended this invitation after exchanging only a few pleasantries with Chen Fusheng.

"Now?" Chen Fusheng asked.

"Yes."

Wu Tianming paused for a moment, then added, "Actually, I went to your office this morning, Director Chen, but you didn't seem to be there."

"Oh, I had something to do this morning and didn't come to the office." As he spoke, Chen Fusheng waved the materials in his hand and continued, "Is it in the screening room on the third floor? Director Wu, you go ahead, I'll hand in the materials and come back shortly."

"it is good……"

After greeting Wu Tianming, Chen Fusheng went straight to Deputy Director Shi's office.

The office door was ajar, and Chen Fusheng knocked on it.

"Xiao Chen?"

Upon seeing that it was Chen Fusheng, Deputy Director Shi asked with a puzzled tone, "Where did you go this morning? Director Wu Tianming went to your office twice this morning and said you weren't there, so he postponed the screening to the afternoon both times."

"My sister-in-law is starting school next month and is going back today, so I went to the train station this morning to see her off."

Because he wasn't very familiar with Wu Tianming, Chen Fusheng had only said he had something to do earlier. But now, when faced with the same question from Deputy Director Shi, his answer was different.

After saying that, he added, "But Director Shi, you don't need to postpone the screening just for me, do you? It's not good to waste everyone's time."

"It's not entirely because of you. Everyone is a bit busy in the morning, but if you don't make it by the afternoon, we won't wait for you."

"Haha, luckily I still made it in time." Chen Fusheng smiled and continued, "And I just ran into Director Wu at the stairwell, he also invited me."

“I told you he just left here, you should have run into him.”

As Deputy Director Shi spoke, he also noticed what Chen Fusheng was holding and asked curiously, "What is this?"

"These are the application materials for joining the Writers' Association..."

Before Chen Fusheng could continue, Deputy Director Shi interrupted, "Is everything done?"

"Yes, it's all done."

"Okay, give it to me, and I'll pass it on to Mr. Ba Jin later."

Seeing that Deputy Director Shi was very direct, Chen Fusheng didn't offer any further explanation. He handed over the materials in his hand and thanked him.

"Between you and me, Xiao Chen, there's no need to be so polite."

After putting away the documents, Deputy Director Shi patted Chen Fusheng on the shoulder and said, "Let's go, let's go see how Wu Tianming's movie of the past six months is doing."

"it is good……"

The two talked and soon arrived at the bureau's screening room.

Meanwhile, the screening room was already quite full of audience members, most of whom were from the bureau.

So when Deputy Director Shi and Chen Fusheng walked in, the people sitting in the front row all stood up to greet them.

Wu Tianming also came forward to greet them.

Deputy Director Shi asked, "Are we waiting for anyone else?"

"I haven't heard of anyone else coming."

Deputy Director Shi glanced at his watch and said, "Then let's just show the movie. I have a meeting at 4:30."

"Okay, then you and Director Chen can find seats. I'll turn off the lights."

No sooner had Wu Tianming finished speaking than a division-level cadre sitting in the front row took the initiative to invite him, saying, "Director Shi, Team Leader Chen, there are still seats here."

As soon as they sat down, someone turned off the lights in the projection room. Then, a beam of light shone on the screen in front of them, and the image went from blurry to clear, and soon the subtitles appeared.

Rivers Without Navigation Markers

Small print in the bottom right corner: Adapted from the novel of the same name by Ye Weilin, which won the first prize in the inaugural National Novella Competition.

Director: Wu Tianming
Screenwriter: Ye Weilin
Starring: Li Wei, Tao Yuling
Photography: Zhu Yang, Yao Zhuo

……

The film tells the story of Pan Laowu, a raftsman on the Xiaoshui River during the special era of "going up to the countryside". Despite being from the lower class, he is kind-hearted, helping a retired cadre in distress and enabling the young Shi Gu and Gai Xiu to have a free love. In the turbulent torrent of the times and the harsh living environment, the film shows the tenacious vitality, simple morality and indomitable spirit of ordinary Chinese laborers in the face of adversity.

The film is 84 minutes long.

As the screening ended and the lights came back on, Chen Fusheng had a clear assessment in his mind: this was an art film brimming with the earthy atmosphere and the imprint of its era. Director Wu Tianming had clearly poured his heart and soul into character development; Pan Laowu's chivalry, Wu Aihua's resilience, Shi Gu's stubbornness, Zhao Liang's simplicity, and Gai Xiu's innocence were all vividly portrayed, leaping off the screen. The film's presentation of the lives and spirit of ordinary people in that special era can be described as "simple yet authentic," possessing invaluable historical significance.

However, Wu Tianming failed to strike the right balance. He overdid the portrayal of the ensemble cast, which weakened the perspective and inner journey of the true protagonist, Pan Laowu, leaving the audience without a strong emotional connection. This made the film more like a genre painting with scattered perspectives than a symphony focusing on individual destinies.

If future viewers were to comment, it would be that it's easy to be pulled out of the story!
Of course, if we interpret it in terms of commercial films, Chen Fusheng would find it difficult to give it a passing grade.

Because of its historical and rural characteristics, it presents a significant cultural hurdle for foreigners to overcome.

"Xiao Chen, what do you think of this movie?"

The moment the screening ended, Deputy Director Shi asked Chen Fusheng this question.

"It's simple and real," Chen Fusheng said after thinking for a moment.

Seeing that Chen Fusheng's answer didn't get to the point he wanted to hear, Deputy Director Shi simply asked more directly: "Can it generate foreign exchange for the country?"

"I'm not sure about that either, but we can arrange to release it in Hong Kong first and see how it goes."

Upon hearing this, Deputy Director Shi understood the situation.

Actually, he wasn't without his own judgment, but Chen Fusheng was more 'professional' in this area, so he wanted to hear his insights. The lights in the screening room came back on, and everyone who had watched the movie for free didn't hold back their applause.

"Director Chen, everyone knows you're an expert in film revenue generation. Now that everyone's gone, could you give me an objective and truthful review of my film?"

After everyone had finished watching the movie and left, Wu Tianming specifically sought out Chen Fusheng and asked him for advice privately.

She added, "Don't worry about saving face for me. I want to hear the truth. Don't worry, I won't get angry."

Chen Fusheng knew that Wu Tianming was coming to ask him questions, which is why he didn't leave.

Seeing Wu Tianming's frank attitude, he then laid out his thoughts, from the highlights of the ensemble cast to the weakness of the protagonist's perspective, from the realistic portrayal of the era to the potential viewing barriers. Finally, he reiterated his suggestion to Deputy Director Shi: "...Therefore, releasing it in Hong Kong first to gauge the market is a more prudent approach."

"It will be released in Hong Kong first..."

Wu Tianming pondered those words, lost in thought...

Just then, there was a knock on the door.

"Team Leader Chen."

"Tong Jiang?" Chen Fusheng looked in the direction of the voice and saw that it was his secretary. He then asked, "Is there something you need?"

"Excuse me, Team Leader Chen." Tong Jiang walked in and quickly reported, "A foreign friend has come to the bureau, named Mark Muller, accompanied by comrades from the news agency. He said he came specifically to see you."

"Marc Muller?"

Chen Fusheng was puzzled at first, but he quickly remembered who this person was.

The Venice International Film Festival's selector in Asia.

It was with his help that "The Bullfight" was sent to Venice.

Chen Fusheng guessed that this person probably came because he heard that his movie had finished filming.

Just like Lao Li, the Asian film selector at the Cannes Film Festival, they all have their own sources of information.

Of course, the most important thing is that Chen Fusheng's filmmaking is not a secret, nor does it need to be kept secret. As long as someone is willing to inquire, it is easy to keep track of the progress of his film.

Without a doubt, Marc Muller was that thoughtful person.

Marco Müller deeply regretted losing Chen Fusheng's film to Pierre Lissent, the Cannes Film Festival's Asian selector, last time.

So after that experience, he learned his lesson and rushed over as soon as he heard that Chen Fusheng's movie had just finished filming.

Of course, he also knew that the timing wasn't ideal this time.

Since the Venice Film Festival has already announced its shortlist for this year, it's too late for him to pull strings. So, his trip to China this time was a trial to see if he could invite Chen Fusheng to apply for next year's Venice Film Festival...

Even if it doesn't work out, it's okay. At least we can maintain our relationship and make it easier to get along next time.

And this is exactly what he does as a film selector.

“Mr. Mark Muller, it’s been a long time. Welcome back to China.”

Chen Fusheng's impression of Lao Ma was actually a bit vague, after all, they had only met briefly last time, and he was also face-blind...

Yeah, I really have face blindness when it comes to foreigners.

Fortunately, there was only one foreigner in the reception room, so he wouldn't mistake someone for someone else.

"Chen, to be precise, the last time we met was two years ago. I even remember you introducing yourself as just an ordinary university teacher. Now that I'm seeing you again, you're an important leader in your country's film bureau... To use a Chinese phrase I've learned, isn't it like, 'A scholar who has been away for three days is like a melon...'... looking at each other with the eyes of a melon? Sorry, my Chinese isn't very good yet, but you should understand what I mean, right?"

Looking at the rather humorous Old Ma, Chen Fusheng smiled and said, "I understand, I understand. Mr. Mark, what you said about 'a scholar should be looked at with new eyes after three days of separation' is a proverb from the Records of the Three Kingdoms."

"I know about the Three Kingdoms period. Guan Yu and Cao Cao, aren't they figures from the Three Kingdoms period?"

"Not bad, not bad. I didn't know Mr. Mark knew about the Three Kingdoms..."

Chen Fusheng chatted with the foreigner about this topic.

He talked about things like the Three Heroes battling Lü Bu, and Zhao Yun charging in and out of the enemy ranks seven times... He only talked about the exciting parts, leaving the foreigner completely bewildered.

Moreover, when the conversation reached a climax, he suddenly stopped talking, leaving the foreigner to inquire and learn about it on his own after returning home, while he steered the conversation to the other party's purpose for coming.

"I heard that your new movie has finished filming, so I wanted to come and find out more." Foreigners generally don't like beating around the bush; they usually get straight to the point.

"My movie has indeed just finished filming, but post-production hasn't even started yet."

Chen Fusheng plans to begin post-production work on "The Devotion of Suspect X" next week.

"Post-production hasn't started yet?"

"Yes."

"That's such a shame. I really wanted to see your new movie in person."

"You've come far too early, but Mr. Mark, you can have a good time in China. For example, you can travel around the country. Our country is vast and rich in resources. Maybe by the time you come back from your trip, the post-production of my film will be finished."

"It sounds like a very romantic suggestion, but unfortunately I still have a job. Maybe when I retire, I will travel around China properly. Actually, I really enjoy learning about your country's rich history and some of the local ancient customs."

At this point, Marco Müller changed the subject, inquired about the details of Chen Fusheng's new film, and then took the opportunity to invite him to attend next year's Venice International Film Festival.

"Mark, you mean, you want me to submit my current film to your film festival next year?"

"Yes, Chen, although there is still a year left, I don't think a year is a long time for a movie."

"No, a year is a long time for me." Since foreigners like to be direct, Chen Fusheng stopped beating around the bush when he spoke.

Moreover, when he said this, he inexplicably thought of Wu Tianming's film "The River Without Beacon," which he had just finished watching in the screening room.

I don't think this film has much hope of winning international awards, but since it's been made, it would be good if it could at least be screened.

If you don't even have the opportunity to showcase your products, how can you expect customers to come into the store and make their selections?

Even if we take a step back and can't sell them, they'll be stuck with us.

As long as it represents Chinese films going global, that in itself is a valuable asset.

In the early days of reform and opening up, when information exchange between China and foreign countries was still insufficient, any form of "going global" was extremely valuable.

Film is not only art and entertainment, but also a bridge for cultural exchange and a carrier of ideology.

The Venice International Film Festival's selectors happened to be here today, so it wouldn't be good to let them leave empty-handed...

(End of this chapter)