Chapter 140: North American Release

Chapter 140: North American Release

That reporter did not have a good memory at all. When Zhang Le made those remarks back then, he had merely given a disdainful smirk and even published a sarcastic piece in his newspaper, mocking him for overestimating his abilities and talking big.

However, after that talk show aired, kung fu instantly became a trending topic, and the "kung fu couple" was once again mentioned by countless media outlets. It was only then that he remembered interviewing the two of them and writing reports about them in the past. He dug up his old interview records and finally recalled it.

"Whether as a director or an actor, when one attracts media attention, it is always hoped that it stems from their work rather than other reasons. If a star fails to deliver decent work, they will inevitably be forgotten very quickly," Zhang Le smiled and continued, "As for why I was so confident when I made those remarks back then, you will find the answer in *Crouching Tiger, Hidden Dragon*."

"I heard that when this film was exhibited at Cannes, it was broadcast on the big screen in the City Hall square, and the trailer alone stunned passersby. Is that true?" a reporter suddenly asked.

"Many French media outlets reported on this, and I witnessed it with my own eyes," Jet Li smiled and said, "If you go to the cinema, you will be stunned as well. This is a rare cinematic enjoyment, well worth trying for yourselves."

"All three of you are kung fu masters, even Miss Yang, who looks rather delicate, is a kung fu master. Are all people from China kung fu masters?" another reporter asked.

Hearing this, Zhang Le and the other two exchanged glances, each seeing a mixture of amusement and bewilderment in the other's eyes. It would be one thing for an ordinary person to hold such a belief, but for a journalist to ask such a question showed just how limited their understanding of China still was.

"There are many Chinese people who know kung fu, but not all Chinese people know kung fu. As for whether someone knows kung fu, it cannot be judged simply by their physique. A seemingly delicate woman, a slender child, or even an elderly person walking with a cane might all be kung fu masters," Yang Xiner smiled and said.

"Chinese kung fu is about self-cultivation and nurturing the mind, not about bellicosity or fierce fighting. A fierce and aggressive tough guy is not necessarily a kung fu master, whereas a refined and scholarly person just might be," Zhang Le also said with a smile.

The three of them were seasoned veterans who handled reporters with ease and refused to be led by the nose. No matter what questions were thrown at them, they would intentionally or unintentionally steer the conversation back to the film.

With the pre-release promotional tour concluded, Zhang Le and Yang Xiner hurried back home without waiting for the film's official release. If the box office performance turned out to be ideal once the film premiered, there would undoubtedly be more intensive promotional activities, at which point the two of them would definitely head to the United States again.

The main reason Zhang Le and his wife rushed back was so Yang Xiner could catch the recording sessions for *The Voice*. Just two days after their return, on June 25th, *Crouching Tiger, Hidden Dragon* was released in North America.

Paramount did not hold particularly high expectations for *Crouching Tiger, Hidden Dragon*. Not only did they invest minimal effort into its promotion, but they were also conservative with the theater count, releasing it in just one thousand theaters. For a Chinese-language film, however, this was still a decent starting point. Naturally, if the box office results proved favorable, the number of screens would increase.

Of course, if the reception was less than ideal, the number of screening venues would inevitably be cut.

The only fortunate thing was that no major blockbusters were premiering during the same period. Whatever was currently playing either lacked staying power or was already nearing the end of its run, making it impossible to siphon away the box office share.

Thomas was a veteran film critic, but even more so, a genuine movie lover. When it came to films, he was never picky. Action, comedy, sci-fi, drama, fantasy, romance, thrillers, horror—he dabbled in all genres. However, he held no favorable impression of Chinese films, especially the so-called kung fu movies.

He had watched quite a few Chinese kung fu films, and while he had to admire the genuine excitement of the fight choreography, he could see nothing else beyond the combat.

In those movies, it was either blood feuds or vengeance. It was either meddling in affairs under the guise of chivalry or lawless slaughter of the innocent. At best, they might highlight physical conditioning and defending one's country.

He failed to discern any inner depth within the films. He refused to believe that five thousand years of Chinese civilization consisted of nothing more than this.

Thomas bought a ticket for *Crouching Tiger, Hidden Dragon* and entered the screening hall, which was already filling up with people. Glancing around, he noticed that the audience was predominantly young, and from their conversations, he could tell they were enthusiastic fans of kung fu.

The real reason Thomas had come to see the film was that his daughter had returned home completely captivated by it, endlessly chattering about plot points that she had found momentarily baffling yet deeply impressive. That was what had ultimately sparked his own interest.

Even so, Thomas still harbored some expectations for the movie. He believed that a film capable of winning the Jury Prize at Cannes could hardly be limited to mere martial arts revenge and clichéd, violence-laden melodrama.

As the stream of moviegoers continued to file in steadily, Thomas was somewhat surprised to find that a Chinese-language film was nearing full capacity—an occupancy rate he had rarely, if ever, witnessed before.

It seemed this film must possess some unique merits. Furthermore, from the conversations around him, Thomas gathered that many of these people had come simply upon the recommendation of their friends.

The moment the film began, Thomas's eyes lit up. He was captivated not by the visuals, but by the musical score. He could readily recognize the plaintive, weeping tones of the cello.

"The opening music has already established the tone for the entire film. A soothing yet exquisite melody, depicting a melancholy and sorrowful life!" Thomas thought to himself.

He did not fully comprehend the dialogue between Li Mubian and Yu Xiulian. Although there were English subtitles, the vast chasm between Eastern and Western cultures remained; dialogue concerning concepts like "attaining the Dao" left Thomas somewhat bewildered.

Nevertheless, he still managed to discern the unspoken, inexplicable affection between the two characters, though for reasons unknown, both chose to bury it deep within their hearts.

As the storyline gradually unfolded, he also observed how a long-famed master swordsman surrendered his legendary sword in an attempt to retire from the Jianghu, only for that very blade to ignite a series of events that brought the dramatic conflicts surging forward.

Yu Xiulian’s nocturnal pursuit of the sword, blending both tangible realism and intangible artistic conception in its action choreography, was truly refreshing. The ripples of gasps echoing throughout the theater served as ample proof of this.

The action sequences within the film were undeniably mesmerizing.

From the encirclement of Jade Fox to Yu Xiulian’s fierce duel with Jen Yu, and Li Mubian’s sword fight with Jen Yu amidst the bamboo forest—whether emphasizing speed, brutal combat, shifting dynamics, or poetic atmosphere—each of the major set pieces possessed its own distinct focus and brilliance.

Yet, as a veteran film critic, Thomas was not merely swept away by these spectacles like an ordinary audience member. What drew him in far more was the profound Eastern culture emanating from the film.

And as the film drew to a close, it confirmed his initial speculation inspired by the opening score.

The characters in the film all met tragic ends. Li Mubian and his disciple did so, and so did Yu Xiulian; the haughty and willful Jen Yu met this fate, as did the carefree and bold Luo Xiaohu; Jade Fox did too, along with the constable who pursued her over long distances. Such was the sorrow of being human, the perpetual enactment of human tragedies.

What was the director attempting to express through this film? Thomas plunged deep into contemplation.