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Chapter 242: The Glamorous Transformation of the Musical Film
🕑 Added 2025-01-13 17:36:08 +0000 UTCBack in the luxurious business suite, Alan didn't rest immediately like Kunitz. Instead, he turned on the room's computer and logged into the "Explosion Maniac" section of a film and television website, entering the chatroom.
This small chatroom had grown from a few dozen people to several hundred participants.
"The New York premiere should be over by now."
As soon as Alan logged in, he saw "Doom Duke" speaking. "Did anyone go watch Chicago?"
"I went," Alan replied.
"How was it?"
"Was it dull?"
"Musicals are the worst!"
"Yeah, I just don't understand why Duke decided to make a film like this."
In just a few seconds, a string of complaints filled the chat. Alan thought about the film he had just watched, which was completely different from the preconceived notions of a musical.
Typing quickly, he wrote:
"Actually, we've all been influenced by our biases. This isn't a 60s or 70s musical. Aside from the lack of fights and explosions, the film is full of the cinematic elements we love and Duke excels at, like stunning visual scenes, fast-paced short cuts, a first-person perspective that immerses the audience, and beautiful, alluring women performing the most seductive dances. Especially the prison tango scene—you can't help but feel your blood boil when you see Catherine Zeta-Jones swing her legs."
No sooner had Alan sent his message than "Rose Hill" chimed in:
"I can confirm this! I just attended the premiere. Not only are there gorgeous women, but the film is extremely entertaining. The dance scenes are wild and uninhibited, featuring sexy women in the shortest costumes. Catherine Zeta-Jones, handpicked by Duke, was absolutely stunning!"
Nothing excites beasts on the internet more than beautiful women.
"Maybe I should watch it after all..."
"Yeah... I'm reconsidering now."
Taking advantage of this momentum, Alan added another message:
"The dances are sexy and exciting, and the film is filled with dark humor. I laughed over ten times during the screening—it's highly entertaining."
Another user, "Velma," popped up:
"I watched the premiere too, and I'm in love with Velma! Zeta-Jones is gorgeous and her dancing is phenomenal. This isn't some artsy musical!"
"Hearing this makes me want to check it out," said "Doom Duke," clearly intrigued. "Let me see if there are still tickets for a midnight screening."
Rose Hill reminded him,
"This film doesn't have midnight screenings. It officially starts showing tomorrow."
"I just called around," "Saving Soldier Ryan," who had been lurking, suddenly spoke up. "None of the three theaters in my small town are showing Chicago. I'm so pissed!"
"Same here in my area..."
Another user, "Jack," said:
"I took Rose Hill's advice and quickly booked a ticket. I'm in Chicago. From what the theater said, tickets seem to be selling fast."
"Is it really that popular?"
"Of course, it's a film by Duke and Tom Cruise!"
Seeing the increasing number of people eager to buy tickets, Panny Kallis's two assistants, who controlled "Velma" and "Rose Hill," exited the chatroom. Standing by the computer, Panny Kallis appeared thoughtful. Clearly, the situation had given her some insight.
"It seems... we didn't really do much," she said, turning to Duke, who was chatting with Tina Fey. "Yet we've stirred a lot of people into potentially buying tickets."
"Panny, you must have heard this before: this is the internet, widely used among young people," Duke replied. Facing his PR manager, he added some general remarks. "The internet allows for free information exchange and has a timeliness that traditional media can't match. Plus, internet users tend to be more impressionable."
As a media and PR expert, Panny Kallis immediately grasped the key point.
"So, if we manipulate the internet, we can influence a large number of users, turning them into potential customers for the film?"
She looked at Duke curiously. "So, you want me to have someone create a... personal website for you?"
"I just want a channel where I can speak directly, outside traditional media."
Hearing Duke's words, Panny Kallis nodded and continued,
"According to the survey you commissioned, North American internet users are primarily young people and students. They aren't exactly the target audience for Chicago..."
"That's why I only asked you to participate in that film forum dedicated to me," Duke said, accepting a glass of water from Tina Fey. After taking a sip, he added, "And to post some related news on the most-visited websites."
"We've already reached agreements with them," Panny Kallis said after checking the time. "The news should be on their homepage by now."
She walked to the computer and whispered instructions to her assistant, who quickly logged into a website. Duke and Tina Fey followed, but Duke felt a sudden urge to smack himself when he saw the name of the site.
The site prominently displaying Chicago-related advertisements and news was called "Yahoo"!
Twenty-plus years... All those non-film-related things had almost faded from his memory.
Suppressing his nostalgia, Duke returned to normal. Back then, as a busy professional, he had been an ordinary internet user in his spare time. Who would go out of their way to look up details about Yahoo? It was miraculous he even remembered it existed.
"Take note of this site," Duke whispered to Tina Fey. "Look up its background later."
Was the founder's surname Yang or Yuan? Shaking his head, Duke decided to check if the company had gone public and how its stocks were performing. Maybe it could be added to his investment list.
Setting those thoughts aside, Duke focused on the computer screen. The Yahoo homepage displayed a new article about Chicago:
"Chicago: A Triumph of Hollywood Genre Films!"
The article, written by renowned critic Linda Whitley, listed the film's highlights: adapted songs, unique musical scores, breathtaking dance performances, exquisite stage design, and more.
Duke felt the article was mediocre. Websites hadn't yet grasped the essence of online advertising.
From his previous life, he knew that promotional articles needed to emphasize how gorgeous the women were and how seductive their legs looked during the group dances.
Nonetheless, this online campaign was a last-minute effort and an experiment. Chicago's main audience wasn't the current group of internet users.
The internet hadn't yet gained Hollywood's full attention, and even traditional media groups were dismissive of computer networks.
Because Chicago didn't have midnight screenings, Duke returned to his Upper East Side home to rest after briefly discussing the personal website project with Panny Kallis.
As Thursday night faded into Friday, the sun lit up the Big Apple once more.
Retired Richard Thomas returned from a walk in a Long Island park. Reaching his house, he retrieved today's New York Times from the mailbox. After brewing a pot of coffee, he sat by a sunny window to read.
A seasoned Broadway enthusiast, Richard had heard about the film adaptation of Chicago and flipped to the entertainment section to read reviews. However, familiar columns were filled with praise for The English Patient and criticism of Star Trek: First Contact. Chicago, which premiered last night, seemed ignored.
Shaking his head, Richard scanned other parts of the entertainment section. He didn't understand why critics were so pretentious. Did they really think they could blacklist that young director? The New York Times front page still had an article about the film.
"Chicago: A Glamorous Transformation of the Musical Film!"
The article, written by famed theater critic Linda Whitley, began:
"The film's story is similar to the stage version but repackaged with modern cinematic techniques. Though the core theme of Chicago revolves around fame and desire—a concept Hollywood endlessly recycles—it is a musical that transcends traditional boundaries, showcasing a blend of cinematic genres."
"Through Chicago, audiences experience not deep contemplation but a rich, multifaceted viewing experience. The film embodies Duke Rosenberg's hallmark qualities: superb production, contemporary relevance, and constant innovation."
"One could say Chicago represents the glamorous transformation of the musical genre. Its integration of dance and reality, seamless transitions, and interactivity far surpasses the simple insertions of traditional musicals."
"Duke Rosenberg skillfully infuses elements of noir into every scene, turning Chicago into a seductive yet mysterious masterpiece. Its lighting and color schemes add a haunting, visceral intensity to its wild exuberance."
Closing the newspaper, Richard Thomas firmly resolved to watch the film after lunch, heading straight to the theater to buy a ticket.
