National Tide 1980.

Chapter 1038 History Lessons
The movie "The Man in the Fire House" was released on April 1986, 4 in Shochiku theaters all over Japan.

Shochiku Films has given great support in arranging films in theaters, and the publicity and distribution have also been done well.

By the end of May, the film was basically down, and the box office had accumulated around 5 billion yen.

In this era, the ratio of investment and recovery costs of Japanese films is roughly around 1:1.7.

In other words, if a movie made at a cost of 7000 million yen is sold at the box office of [-] million, the production company of the movie will be able to pay back.

So based on this calculation, Shochiku Films not only successfully recovered the cost of this movie, but also earned [-] million box office share.

It should be said that it has basically met expectations, at least it is sure to squeeze into the top ten annual box office of Japanese local movies.

As for the video tape market and overseas markets, that should be pure profit.

It is estimated that the overall profit that this movie can create will reach three to four billion yuan, no problem.

Moreover, the overall reputation of this movie is good. Since its release, both the opinions of the critics and the audience's reputation have been good.

If nothing else, it will be the most popular film to win this year's awards.

According to director Kinji Fukasaku's thinking, since he has made a blockbuster movie for Shochiku Yingka and has lived up to the importance of the president, Shochiku Yingka should fully support him in winning the award.

What's more, his award will also help "The Man in the Fire House" to further expand profits in the video tape market and overseas copyrights, and the president of the press should also be happy to see this.

Although Shochiku will launch Yoji Yamada's "Movie World" this year, it will compete with his "The Man in the Fire House".

However, he thought the script of "Movie World" was very ordinary, a kind of semi-documentary film.

Regardless of the story or the theme, we only want to truly reflect the hard work of early Japanese filmmakers. In fact, many places overlap with his "Kamata March".

Even from the perspective of character design and conception, it is basically equivalent to the sequel of "Kamata March", which belongs to picking up his leftovers.

He believes that this kind of movie only has feelings, lacks innovation, and has little visual and plot impact.

No matter how Yoji Yamada shoots, it will not bring many refreshing surprises to the audience.

To put it bluntly, "Movie World" is inherently insufficient in terms of competition for awards, and at most it can be regarded as an accompaniment to "The Man in the Fire House".

It is possible to win an award in awards such as the Film Festival Awards, but it is difficult to compete for the most important academy award in the Japanese film and television industry.

As long as the president of Shochiku is not stupid, he should know who to direct his PR resources to.

It is precisely because of such pride and self-confidence that even though Keiko Matsumoto was cleansed and completely out of the control of Kinji Fukasaku, this incident brought him great displeasure, but he still has a certain level of promise and certainty for the achievements of his personal career this year.

He believes that with "The Man in the Fire House", he will definitely gain a double harvest of artistic word-of-mouth from a blockbuster director.

Best director, best film, these shining trophies will undoubtedly help him shorten the distance from the throne of Japan's number one director.

Once he successfully wins the award, he will have more investment and greater freedom in the next film he wants to cast.

It's just that although Kinji Fukasaku thought very well, unexpected accidents often happen when people are most sure.

Back then, when Takeo Fukuda and Kakuei Tanaka were competing for the prime minister's throne, the number of votes was far ahead, but at the last moment full of confidence, Kakuei Tanaka gave him a backstab, and he became a loser overnight.

And Kakuei Tanaka stepped down precisely when he was so powerful and overwhelmed.

Also without warning, Uncle Sam used the "Lockheed case" to slap him down from the prime minister's throne.

So, what if history wants to teach us?
What if history wants us to remember?
The first to bear the brunt must be the principle of "be careful sailing for thousands of years".

No matter who you are, if you want to do a big thing, you should keep in mind that the more you are sure, the easier it is to be paralyzed and cause problems.

It was because Fukasaku Kinji didn't understand this that he fell into bad luck.

In fact, just when he took Harada Michiko to Hawaii for vacation in order to relieve the depression of not getting Keiko Matsumoto.

An article by a well-known drama critic appeared on the "Sports Daily" in Tokyo and the industry magazine "Yihua Art" facing the whole of Japan, silently pointing the finger at him.

The "Sports Daily" commentary was a bit more tactful, and the criticism was relatively mild.

It is said that this "The Man in the Fire House" shot by Kinji Fukasaku expresses human nature and the writer's private life just right.

The actress is also very temperamental, and it can be proved from the box office that it is a quality movie.

But compared with his previous works, this movie has obvious shortcomings, because it reflects the bad things in people's hearts.

Throughout the movie, the male protagonist has been swinging between family and personal, wandering from side to side.

And it is human instinct and desire that make the hero make a choice.

But it has never reflected the quality of the male protagonist as a writer, and he does not have a brain capable of writing masterpieces.

From this point of view, only emotion without rationality is also a kind of unreality, which is a delusion from the perspective of a writer's identity.

At the same time, it will inevitably make people feel that the structure of this ethical film is small, and the theme it wants to express is slightly inferior.

And the article in "The Art of Filming" is even more blunt, it is simply a blatant attack.

It is claimed that the director Kinji Fukasaku has obviously begun to degenerate in literary and artistic creation.

Although this film has some advantages, as an emotional and ethical film, it is enough to attract attention, and the pictures and plots are also very expressive.

But this is obviously a movie that uses the author's privacy and the affairs of men and women as a selling point. It is erotic for the sake of eroticism and pursues sensory stimulation.

In particular, there are some bold and insolent exposure scenes, which are already very vulgar.

If the so-called artistic disguise of exploring reason and human nature is stripped off, it will be no different from Nikkatsu's pink movies.

This is enough to prove that Fukasaku Kinji's creation has encountered a bottleneck period, and he has to use this inferior trick to attract the audience.

As for the only thing wrong with this movie, that is, the selected main characters meet the audience's expectations.

In addition to the male protagonist of Ogata Ken, there are also two eye-catching actresses Ayumi Ishida and Keiko Matsumoto.

Especially for Keiko Matsumoto, there are basically no nudity scenes, but she conquered the audience with her convincing and deeply rooted acting skills.

On the contrary, it improves the style of the movie. Isn't this what makes an actor successful?
As soon as these two articles came out, there was an uproar in the film industry.

You know, for a director as successful as Kinji Fukasaku, there are no critics in the Japanese film industry who dare to criticize directly.

Because he is in the limelight, it is no good to offend him, otherwise it will anger his fans and affect his reputation.

In particular, the movie "The Man in the Fire House" has basically been released. It is even more strange that two people issued negative reviews when it was clearly a success at the box office.

Not to mention that the audience is willing to spend money to buy tickets is enough to prove the success of this movie.

The point is, what's the point of criticizing the film at this time?

Even Shochiku's competitors, the other major film companies would not spend this unreasonable money and invite gunmen to snipe their opponents at this time.

So what if you scolded hard at this time?It can't affect the box office at all, are you out of your mind?
Therefore, most people in the industry regard the behavior of these two people as an act of dementia for grandstanding.

Many movie fans also felt dissatisfied after reading the article.

I think these two vocal drama critics really don't understand the needs of the people, they are just full of food, and they are talking nonsense.

Don't watch the exposure screen?Then who would go to the cinema just to watch such soft emotional and ethical movies?
Two fools!

Because of this, even though someone soon told Fukasaku Kinji that someone wrote an article scolding him, Fukasaku Kinji didn't take it seriously.

He only regarded these two well-known drama critics as people who wanted to increase his popularity by scolding him, and continued to spend his vacation, completely ignoring them.

So this contempt became his fatal mistake.

Because soon, two drama critics posted another article explaining their reasons for criticizing "The Man in the Fire House".

One person said that it was precisely because he liked the movie "The Man in the Fire House" that he watched it many times before he realized it.

Could it be that you are aware of the shortcomings of the film and can't write it out?
I write these comments in the hope that Director Shen Zuo can make better works, and the quality of future works will not decline, so as to avoid disappointing his fans.

I think Director Fukasaku himself must be able to understand my original intention.

It’s certainly not like some people who can’t tolerate a little bit of criticism and can’t accept doubts. In fact, this is the difference between ordinary people and successful people.

The more successful a person is, the broader his mind is.

I'm curious, do those people who are dissatisfied with me really watch this movie seriously and understand the spiritual connotation of the movie?

Another said that there is a bad trend in various industries in Japan, which is to regard authority as a god.

It seems that once he is successful, this person can no longer be questioned. Is this kind of atmosphere conducive to the healthy development of Japanese movies?

The only reason I want to criticize Kinji Fukasaku's work is because he is a director.

I think only in this way can this famous director create with a more rigorous attitude.

If you don’t believe me, just look at the quality and budget of his works, which are completely inversely proportional to his fame and honor.

The higher the standard of the films produced, I don’t know if the director is regressing, or he is getting more and more careless, he doesn’t care about his reputation at all, and he doesn’t cherish the audience who spend money to buy tickets to go to the cinema.

Isn't it the responsibility of drama critics to evaluate the pros and cons of each film and television work for the audience with a fair and fair attitude and a professional perspective?
Would you believe me if I always told you that Director Fukasaku's works are flawless?

On the contrary, as a drama critic, being able to find mistakes and shortcomings in the works of famous directors like Kinji Fukasaku proves that he is a professional with real courage and a fair heart.

As for those who only say good things about famous directors, I doubt they see the obvious problems in "The Man on Fire."

I can't say that they are following others and can only "read the air". What I worry about is that they are not capable enough.

In any industry, there are people who are not good enough and fish in troubled waters.

Not convinced to argue.

Well, just these two drama critics.

One sings the red face, the other sings the white face.

One is kind and the other is sharp.

Not only did the people who accused them have nothing to say, but on the contrary, it provoked the stupid young people in the industry of drama critics.

Peers look down on each other, and this also exists in the industry of drama critics.

Some people can't stand this, provocation?I'll be the judge then.

Ever since, several drama critics have carefully read "The Man in the Fire House" one after another, and each published a review.

The provocateur's point of view was refuted.

They all pointed out that what you said was wrong, do you understand movies?

Director Fukasaku's mistakes in this movie are not based on what you said, but what.

In my opinion, he can shoot whatever he wants.

And his last work, there are similar problems everywhere.

Are you blind?Let's take a closer look.

So a debate started.

The new drama critics want to prove that they are professional critics and are not afraid to criticize famous directors.

And the one who caused the disturbance was a person who pretended to understand and really fished in troubled waters.

It just needs to be pointed out that no matter which party is picking different faults for Fukasaku Kinji's film.

In addition, in variety shows and radio programs, amateur guests continue to stir up trouble.

The comment of a certain drama critic is really predictable. I admire him so much. He is the guiding light for our movie fans.

Why hasn't this guy been famous all this time?I find his comments more objective and professional than many of the more famous ones.

Well, just like that, gradually the public opinion became distorted.

From the drama critic's motivation to criticize Fukasaku, it evolved into a game of "find faults" centered on Fukasaku Kinji, and it became a competition for drama critics to win.

Think about it, no matter how healthy a person is, he can't stand a dozen doctors looking at him with a microscope.

What's more, it's not that Fukasaku Kinji didn't offend others. Now that he has the opportunity to make trouble, those people won't reason with him, so they quickly seize the opportunity to scold him.

So "The Man in the Fire House", which was originally of decent quality, was analyzed by a bunch of drama critics, finding out countless mistakes that the director should bear.

Although many of them are personal opinions, and it is impossible to judge right or wrong, invisibly, fans have reduced their admiration and affirmation of Kinji Fukasaku.

I feel that he is not so powerful anymore, just an ordinary person.

So when Kinji Fukasaku returned to Tokyo after his vacation, he was almost dumbfounded, and suddenly found that many people were picking on his "The Man in the Fire House" on the home version to find fault.

Although this drove up the enthusiasm for watching the movie, it actually gave the movie a little rejuvenation, earning tens of millions of yen more.

But it's obviously too bad for him to participate in the award chase.

However, there is someone who is more annoyed than him, and that is Michiko Harada, because she discovered so many media commentary articles.

The names of Ishida Ayumi and Matsumoto Keiko are everywhere, but there are very few mentions of her.

And the opinion is almost still that she has no acting skills and will only expose.

Some people even lamented that she was the only wrong actor for this movie, and she should have chosen the one that Ayumi Ishida and Keiko Matsumoto wanted to be.

Even if the "Pink Movie Queen" Miyashita Junko is cast, it will be more credible.

How does this make her live?
Michiko Harada, who thinks that she can almost become the Queen of Tomorrow, can't help but burst into tears!
(End of this chapter)