Chapter Forty-One: Advancing Amid Praise and Criticism

“…Compared to the film’s gore, the performances of the two leads are truly commendable. For the leading role, the director boldly cast Wu Mengda, once a TVB favorite now sidelined for years. The days of Hu Tiehua are long gone. After gambling and bankruptcy, Wu Mengda could only take bit parts in the industry. Yet, his performance in this film proves the director’s keen eye. Years of playing small roles have honed his craft, and his acting now carries the entire film. His control over the protagonist’s emotional arc is masterful, especially the transformation after the character’s trauma, which he renders with exquisite precision. As for the newcomer Chow Wai Man, her performance is also praiseworthy. With her pure, ingénue appearance, she brings to life the spirited and slightly feisty journalist. Particularly in the kidnapping scene, her panic feels utterly genuine, with not a trace of affectation…”

“…Apart from the acting, the film’s two songs are also standout features. Chow Wai Man’s ‘Devotion for Love’ and Tai Chi Band’s ‘Lost’ are both outstanding pieces. Although Chow Wai Man’s vocals are a little unpolished and youthful, it’s precisely this innocence that infuses the song with a girl’s longing. Coupled with the gentle music, it’s like a melody from heaven. Tai Chi Band’s ‘Lost’ is a completely different style—a forceful critique of society mixed with the confusion of the younger generation. Both songs, whether the tender love ballad or the energetic rock anthem, were written and composed by the director Yan Xu, showcasing his abundant talent…”

The Xinbao report focused mainly on the director, the actors, and the two songs featured in the film.

Early that morning, Yan Xu went to the newsstand and bought every newspaper that carried stories about “Taxi Judge.” Though the reports took different angles, for the film, all this was exceptional publicity.

What Yan Xu didn’t expect was a report in Ming Pao. Founded by one of the Four Literary Talents, Jin Yong, it was one of Hong Kong’s most influential newspapers. The article’s author, another of the Four Talents, Wong Jim, was a famously free-spirited broadcaster, straightforward and unrestrained. Hosting daring television programs, he spoke openly about any topic, unashamed and quick-witted—qualities that made him a true literary playboy, even starring in a string of Category III films.

The article, “Who Is Responsible for His Sorrow?”, took a different approach. Unlike other neatly structured reviews, this was written almost like a travelogue, using humor to pose difficult questions. There was neither praise nor censure; only a slight disappointment at the lack of explicit scenes, before delving into character analysis—sometimes with playful jibes. On mainstream papers, only this eccentric dared to swear in print.

“…The guileless Ah Kin didn’t end up this way merely because of his own circumstances. The media and the public bear much responsibility. Their repeated coverage and praise led Ah Kin to disregard the law, resulting in everything that followed. If Ah Kin is a murderer, then these media outlets and citizens are also unavoidably complicit—these bastards are, in a sense, accessories to murder…”

Yan Xu hadn’t expected Wong Jim to have seen his movie. Wong’s reviews were more effective than most advertising. While he was relieved, he also felt a tinge of regret—no one had recognized Wong at the premiere, and so he’d missed a chance to make his acquaintance. Yan Xu had always admired Uncle Jim’s free-spirited ways.

Amid the praise, there were also measured accounts—and, inevitably, some harsh criticism. In The Metro Daily, a critic named Wong Chi Wah wrote a particularly fierce review, attacking the film with a moralistic zeal.

“…The whole film is senseless, relying on gore to grab attention. The plot is a hodgepodge; this so-called ‘Taxi Judge’ is nothing but a homicidal maniac, yet the director idolizes such a character—setting a terrible example for young people. The filmmaking is shoddy, making it hard to believe where the millions in production costs went. The special effects makeup is simply nauseating. As for the actors, they shout and overact, their performances completely fake. A novice director, a third-rate actor, and a random girl plucked from the street—together they’ve made a thoroughly second-rate film…”

Besides Wong Chi Wah’s review, many newspapers took up the role of moral guardian, loudly proclaiming how this first Category III film was corrupting the youth. Yan Xu knew such controversies had always existed and would continue until the decline of Hong Kong cinema.

Sitting in his office, Yan Xu read through the recent reviews. Since the film’s release, the press coverage about him had grown—mostly a mix of praise and criticism. Some applauded the film under the new rating system, while others condemned it. At the same time, both the public and many scholars were calling for urgent reforms to the city’s taxi industry. It was a chaotic cacophony—a single word summed it up: tumult. But this was exactly the environment Yan Xu needed—the more heated the debate, the more publicity for the film.

“The numbers are in!” Bald Keung burst excitedly into Yan Xu’s office, slapping the report down onto his desk.

“How much?” Yan Xu sprang to his feet. With several major films opening in recent days, the box office tallies had been slow. From his own rounds at the theaters, attendance rates seemed solid, but without hard numbers, he’d been uneasy.

“See for yourself!” Bald Keung handed over the report. Yan Xu immediately scanned for the box office figures for “Taxi Judge.”

In just three days, the film had grossed 4.5 million—far exceeding expectations. This was almost on par with “Mad Mission: Queen’s Order” from earlier in the year. For a Category III film, restricted to adult audiences, such results in three days were astonishing. At this rate, cracking ten million was well within reach. Although attendance would inevitably drop after the initial surge and with Christmas approaching, the film would be screened for 28 days. Even with declining numbers, it should easily clear another five or six million, surpassing the original’s performance and validating Yan Xu’s changes. In other words, Yan Xu’s gamble had paid off. From Hong Kong’s box office revenue alone, at least two million in profit was guaranteed, not to mention returns from other regions and countries.

Of course, “Taxi Judge” wasn’t the only film posting impressive numbers. At the top of the week’s box office was Cinema City’s “Merry Christmas,” which grossed five million in three days—neck and neck with “Mad Mission: Queen’s Order.” With Christmas just days away, its box office was certain to soar even higher, making it a strong contender for the year’s top spot. Both films were produced by Cinema City, ensuring the company’s coffers would be overflowing this year.

Meanwhile, D&B’s “The Owl and the Little Flying Elephant” also performed well, taking in 4.6 million in three days—beating “Taxi Judge” by a slim margin. Both of these family-friendly films showed strong momentum, each likely to surpass twenty million at the box office. Yan Xu knew his own “Taxi Judge” would not overtake them; in the history of Hong Kong cinema, only seven films had ever crossed the twenty million mark, five of which were released this very year.

PS: My apologies for the late update—a bereavement in the family means there’s only one chapter today. Please forgive me. I will try to make it up tomorrow, though my schedule may remain unstable until after the funeral. Normal updates will resume afterwards!