Chapter One Hundred: Cheers, Jeers, and Laughter (Part One)

Chapter 100: Cheers, Jeers, and Laughter (Part One)

Standing on the shoulders of giants naturally allows one to reach greater heights.

Zhang Le’s film, adapted from the original "Crazy Stone," had the original as a reference point. If his version turned out worse, then he truly had nothing to be proud of.

Of course, having the original as a reference doesn’t guarantee a better film. The actors were different, the crew was different, but most importantly, the director was different.

This was why Zhang Le, with so many classics swirling in his mind, dared not shoot carelessly. He knew that even with the original as a guide, limited directorial skills would prevent him from recreating its brilliance. Forcing it would only spoil a classic.

Being nominated for the Golden Dragon Award still delighted Zhang Le. Although it was just a remake, at least he had done it successfully. To recreate a classic film from a previous life gave him a sense of accomplishment, even with the original as a template.

Zhang Le believed his version surpassed the original, but he wasn’t confident he would win the award.

His film’s nomination injected a much-needed boost into the box office for "No Way Back," which had been waning after a long run.

Yet, the greatest beneficiary was Zhang Le’s upcoming film, "Flirting Scholar."

Although Xinle Film Studio had welcomed new directors, it still revolved mainly around Zhang Le and Yang Xin’er. "Flirting Scholar" was directed by Zhang Le and starred Yang Xin’er. It was the studio’s flagship project, and with its release imminent, the entire company focused their energy on it.

Both films were remakes of classics, but compared to "Crazy Stone," "Flirting Scholar" presented a greater challenge. For Zhang Le, this was a true test.

As the release drew near, Yang Xin’er noticed Zhang Le was more nervous than during "Crazy Stone’s" premiere, lacking his usual calm. If it weren’t for his martial arts training and qigong practice, he might have already been restless.

“This film will definitely win everyone’s favor,” Yang Xin’er reassured him. “When we watched the final cut, the crew laughed from start to finish. As for the fans, it’s even easier to imagine. A comedy that makes people laugh is a success.”

“Thank you!” Zhang Le smiled in response.

He knew Yang Xin’er was soothing his nerves. But was a comedy that simply made people laugh truly a success? For fans, perhaps. But for filmmakers like Zhang Le and Yang Xin’er, it was obviously not enough.

A comedy that makes people laugh can still be a terrible film.

Having made and acted in a film that aroused laughter, Zhang Le and Yang Xin’er were far from satisfied. Naturally, it could not yet meet their expectations.

Still, with Yang Xin’er’s encouragement, Zhang Le’s mood stabilized considerably.

"Flirting Scholar" contained many experimental elements; Zhang Le did not expect all his attempts to be embraced. Especially the acting—by traditional standards, it was terrible.

The performances were exaggerated to an extreme, even though Zhang Le had restrained them considerably. After all, he understood that the revered Zhou, the master actor in the original, had through countless works familiarized the audience with this style, turning the film into a classic.

Had someone else used this style, it might have drawn no praise and instead invited a barrage of criticism.

Without Zhou’s unique performance, could "Flirting Scholar" still become a classic? Zhang Le could neither imagine nor dare to try. So while the film bore traces of imitation, it also contained original elements.

Zhang Le and Yang Xin’er, along with the film’s core team, busied themselves promoting the movie.

Time passed, and finally, "Flirting Scholar" premiered.

This time, neither Zhang Le nor Yang Xin’er sneaked into theaters quietly; they were busy touring major cities to build momentum.

Yang Xin’er had a large fanbase, and Zhang Le now had many fans as well. Both had huge followings. They had collaborated many times in music, but this was their first true joint venture in film.

In "Crazy Stone," Yang Xin’er’s role as Bao Shihong’s wife was memorable but minor, barely enough to satisfy her fans.

This second film directed by Zhang Le naturally fulfilled their expectations.

Moreover, after "No Way Back," although Zhang Le’s fame hadn’t skyrocketed, his admirers had definitely increased.

The film avoided competing blockbusters and premiered late in the lunar month, after most New Year holidays had passed. With no major releases at this time, it had a good chance.

On opening day, many theaters were fully packed.

But right from the start, something both amusing and baffling occurred.

Tang Bohu was one of the Four Talents of Jiangnan—when people fought fiercely over a piece of trash, his calligraphy and painting skills were, naturally, extraordinary. Everyone expected him to wield a brush with grandeur, yet he was seen roasting chicken wings instead, an insult to his refined image.

It caught many off guard but only elicited a knowing smile.

When Huang Yao appeared as Zhu Zhishan, the audience realized this film was no ordinary scholar-beauty romance. Zhu Zhishan’s portrayal completely upended the image of the "Four Talents." Tang Bohu’s line, "When the wind blows egg shells, the wealthy live in peace," was remembered by many.

Their dialogue was somewhat humorous but not a highlight. Still, it lifted the atmosphere in the theater. The audience gradually sensed this film’s style diverged sharply from Zhang Le’s previous "Crazy Stone."

Zhang Le had repeatedly emphasized this distinction during promotion, so the audience was curious rather than shocked—wondering how this style differed from before.

Next came the body-painting scene, employing subtle special effects, provoking astonishment and reminding many of performance art.

This was undoubtedly a brilliant creative choice in the film.

Of course, a brief moment involving Zhu Zhishan’s “little buddy” was somewhat inappropriate for children. Yet, it was not lewd or vulgar; instead, it sent the audience into fits of laughter.

Then, Tang Bohu’s eight wives stunned everyone, leaving many speechless. It became clear this was not a conventional scholar-beauty romance but rather something entirely different...

The audience suddenly found themselves at a loss for words to describe this film.

Eight wives—an overwhelming number. Having many wives was not necessarily a blessing. As Tang Bohu lamented in the film: "My heart aches and grieves; eight wives like ravenous wolves, people think I enjoy a perfect life, but actually, I’m empty, lonely, and cold..."

The original line lacked the word "cold," which Zhang Le added. That single word sparked endless imagination.

Cold—because no one warms the bed at night. Eight wives, yet no one to warm the bed...