Chapter Thirty-Eight: The Arrival of the Judge

"Is it a cop-and-robber film?"
"Taxi Judge—just from the name, you know what it is. I'm really looking forward to it!"
"Tickets for today were hard to get. Only this cinema is showing it; the full release starts tomorrow."
"So many reporters here today."
"The promotion for this movie has been everywhere these days. There's even a poster at my doorstep."
"Yan Xu—the director who made Rainy Night Butcher not long ago. That film was a real thrill; I watched it several times."
"You saw Rainy Night Butcher too? That's exactly why I came. I loved that film; my friends did too. I queued for ages to get a ticket for today. If it's as exciting as I hope, I'll bring friends to see it tomorrow."
"Sometimes those taxi drivers are really annoying. Last time I crossed the harbor, I was overcharged by several hundred."
"This is the first Category III film. I wonder what it's like—will it be as thrilling as Li Hanxiang's movies?"
"You dirty old man, you just want to see those scenes."
"Look who's talking! You came for those scenes too. If it's really thrilling, I'll take you to see some girls after."
...

From the day Taxi Judge began filming, it had a high profile in the newspapers and magazines, and under Yan Xu's careful orchestration, the coverage and discussion never ceased. Coupled with an overwhelming promotional campaign before its release, today's premiere was exceptionally lively.

Tickets for the premiere were sold out early. Though several smaller screening rooms besides the main hall were showing the film, many moviegoers still left disappointed, unable to get a seat. Yan Xu was thoroughly satisfied with the bustling crowd lining up to enter; a hot premiere at least heralded a good start. This release was nothing like the previous one, which had only a handful of cinemas. The reality finally matched what Bald Qiang had predicted: fifteen cinemas hosting the main screening, not too many nor too few, plus another seven or eight cinemas with second or third screening rooms. The film was nearly everywhere across Hong Kong Island, Kowloon, and the New Territories—this was truly a full public release across Hong Kong.

What’s more, Bald Qiang had managed to secure a percentage share of the profits. Though not high, and not matching the big companies, it was already better than the usual flat-rate deal. The film would screen for four weeks: fifty percent for the first week, forty percent for the second, thirty for the third, and twenty for the fourth.

Although Yan Xu was pleased with his work, he still felt uncertain about how it would perform at the box office; after all, ticket sales can be unpredictable.

And starting tomorrow—December 12th—several blockbusters would debut. Cinema City's Merry Christmas, featuring superstar actors and musicians like Mak Ka, Lee Lai-Chun, Leslie Cheung, Chan Pak-Keung, and Tsui Siu-Fong, and directed by the comedy talent Ko Chi-Sen, was aiming for a twenty million box office. Besides Merry Christmas, D&B's third film, The Owl and the Elephant, would also premiere. As a newly founded company, D&B had already scored hits with Double Dragon and Awaiting Dawn, one grossing eighteen and a half million, the other over seven million. For this third film, one of D&B's owners, Sammo Hung, was not just directing but starring, and had recruited popular singer Lam Chi-Cheung and rising newcomer Michelle Yeoh, vowing not to settle for less than ten million.

Other films included Shirley, a Shaw Brothers and Fortune co-production, directed by Hong Kong New Wave leader Patrick Tam, starring the emerging talents Anita Mui and Tony Leung Ka-Fai. Though Shaw Brothers had invested less in cinema lately, and their films' quality was often questionable, a dying camel is still bigger than a horse. This year alone, Prince Frog and I Love Roland had good box office results, as did Tang Dynasty Wild Woman and the only Category III film starring Chow Yun-Fat's girlfriend, Chen Yu-Lien, Twin Bodies, which also turned a profit.

There were also Art Star's Malt Sugar of Love and Peter Wang Wai-Chuen's Sandwich, but Yan Xu dismissed both. He hadn't even heard of them, except for Sandwich's lead actress, Kara Hui, who had some fame.

When Yan Xu appeared with a troupe of actors including Vivian Chow, the waiting reporters surged forward, their cameras and flashes firing ceaselessly, as if money were no object.

It was Vivian Chow's first experience with such a spectacle; holding Yan Xu's arm, she leaned back slightly, dazzled by the flashes, and it was only thanks to Yan Xu's quick reflexes, gently supporting her back, that she avoided embarrassment.

Such a scene was rare, not only for a newcomer like Vivian Chow but even for seasoned actors like Wu Mengda, who hadn't enjoyed this kind of attention for years. His struggles had relegated him to minor roles, and he was nearly vanishing from the media. Standing again before the cameras, he felt an intense surge of emotion, wanting to shout, "Wu Mengda is back!"

"Director Yan, who is this beautiful lady by your side? Is she your girlfriend?" No one expected the first question from the reporters to be about Vivian Chow. Perhaps they had prepared many questions, but when she appeared—all long hair, white dress, a hint of shyness, like a goddess descended—their attention was completely captured.

"This beautiful lady is called Vivian Chow. She's the newcomer I'm promoting, and she's the lead actress in today's film," Yan Xu replied with a smile, introducing her to the reporters.

"So she's Vivian Chow! Director Yan, we've heard you personally wrote a song for Miss Chow. How confident are you in your songwriting debut, and are you satisfied with Miss Chow's performance?"

Though many reporters didn't recognize the faces of the main cast, the massive promotional posters had made their names familiar. They knew from Baizhan's leaks that Yan Xu had crafted a song for the film's heroine. Now, seeing Vivian Chow in person—with their sharp instincts—they realized that if the song was decent and her singing passable, her looks alone could make her a star.

"Of course I'm satisfied. As for how well Ah Min sings, you'll see for yourselves when you watch the film; and if you're asking whether the song is good, you've asked the wrong person. The performer herself knows best how well the song was written," Yan Xu said, deliberately steering Vivian Chow toward the reporters. This was her moment to learn; there would be more such occasions ahead, and she needed to gradually develop her poise in the spotlight.

"Miss Chow, are you satisfied with the song Director Yan wrote for you?"

"Miss Chow, how do you feel about your first film appearance?"

"Miss Chow..."

As the questions multiplied, the group gradually split into several small circles, with most reporters gathered around Yan Xu and Vivian Chow, while Wu Mengda, Qin Pei, and Uncle Nine each had their own clusters.