King of Hollywood-Chapter 69 - : Film Reviews and Box Office

Chapter 69: Chapter 69: Film Reviews and Box Office

“This is a film filled with hope, just as the saying on the poster goes: ‘Fear can hold you prisoner. Hope can set you free.’ The movie opens with the banker Andy, played by Tim Robbins, clanging into prison, accused of murdering his wife and her lover. The court’s various debates lead us to lean towards his guilt, but his behavior after being incarcerated casts doubt on his innocence—a question that remains unanswered for a long time.

However, hints can be seen in many places. When Morgan Freeman’s character, Red, enjoys cool beers on the rooftop with fellow Shawshank prisoners, the film’s first theme is indented: freedom, something we have always pursued tirelessly.

And so Andy began to change and influence the perspectives of those around him, one bit at a time. When the prison PA system began to play ‘The Marriage of Figaro,’ and all the inmates stood still to listen, with Red’s voice-over, we witnessed another theme: hope.

The actions of Andy were not in vain, as evident from the three parole hearings for Red. The first time, he tried to bluff his way through; the second time, he just went through the motions; only on the third time, after Andy’s escape, after the corrupt Prison Warden Norton and the prison guards had been punished, did he seem indifferent but deep inside had come to understand many things. Thus, he was granted parole. The film’s third theme was thereby expressed: redemption.

By now, we should know Andy was innocent; otherwise, he wouldn’t have maintained that little hope, that longing for freedom, in the dark confines of Shawshank. In fact, two-thirds into the movie, the truth about the murder of Andy’s wife and her lover finally comes to light through the revelation of a young inmate imprisoned for theft. However, Norton, who benefited from Andy’s money-laundering, refused to let him go and ultimately killed the young inmate.

Therefore, Andy escaped through the tunnel carved out by the small rock hammer Red procured for him, waded through filthy sewage rivers, washed away his sins, and was reborn on the other side! The Prison Warden paid the price and Red, who was redeemed and released on parole, reunited with Andy in Mexico.

Both Tim and Morgan displayed exquisite acting—Andy’s calm and wisdom, Red’s numbness and despair, and his eventual penitence—all were impressively conveyed through their expressions and body language.

Of course, the director Adrian also deserves credit. This genius director who within one year created two low-budget, high box-office films and achieved success at European film festivals showed his masterful skill, controlling the emotions of the audience perfectly. I believe everyone would have cheered and applauded for Andy as he crawled through the sewage tunnel and looked up at the sky in the rain. With numerous subtleties embedded in the film, it’s hard not to concede that he can indeed tell a story. In any case, this is a film worth watching.”

——Washington Post, Wayne Jackson

This was a representative film review of ‘The Shawshank Redemption’ in the newspapers the following day. Unlike what Adrian remembered, most critics praised the film.

This was certainly because of the promotional efforts by Laverne and Universal, but also related to Adrian’s remarkable work. He was the first director within a year to produce two low-budget, high box-office movies, and while maintaining a strong personal style, his versatility was surprising, from ‘Lock, Stock and Two Smoking Barrels’ to ‘Memento,’ and now to ‘The Shawshank Redemption,’ each film had a different style, with similarities present but even more differences, which was truly astounding.

Of course, the quality of ‘The Shawshank Redemption’ itself was outstanding; otherwise, no matter how impressive the director’s track record or how clever the promotional tactics, it would not have received such results. However, with praise also came criticism, let’s not forget what people said when he claimed it was an “almost perfect film.”

“The Shawshank Redemption is a mediocre film,” Tim Robbins looks more like a saint than a prisoner inside Shawshank Prison, and Morgan Freeman’s nagging voiceover tortures the audience’s ears—oh please, can’t he talk less?

Apart from the warden’s cunning and some prisoners’ perversion, there’s not much else worth mentioning. Of course, the most important three scenes—earning beers on the rooftop, playing music in private, and the eventual escape—do have some appeal, but the loose narrative can easily put one to sleep before getting to these moments.

Clearly, the director tried to express a lot in it, hoping to convey themes like hope, freedom, redemption, institutionalization, and so on. Unfortunately, the more he tried to express, the easier it was to fail. Many directors have fallen on this point, and Adrian won’t be an exception. It’s a total waste of Tim and Morgan’s acting skills and Stephen King’s novel. Adrian is still too young; I think it would be better for him to continue making more cultish films.”

This chapt𝙚r is updated by freeωebnovēl.c૦m.

——Clancy Pope, The Los Angeles Times

This review can also be seen as the most representative of the critical articles, focusing on three main issues: biased character portrayal, relatively loose pacing, and an overabundance of messages.

While the criticisms may seem valid, many see them as nitpicking. Indeed, it’s not the fault of reviewers who take a serious stance towards film; it’s more due to certain attention-seekers who write whatever draws the most eyes. Criticizing can become addictive, and as a result, it has garnered Adrian some sympathy votes.

Overall, the reviews are mostly positive, albeit not overwhelmingly so, but they’re still enough to draw audiences to the theaters. And let’s not forget the sympathy votes. Yet, North America’s opening weekend box office was less than thrilling, barely $23 million, especially considering Universal had secured almost 2000 theaters for The Shawshank Redemption. No one expected an opening weekend like Terminator 2 with $60 million, but $23 million was still concerning.

However, as time passed, those concerns slowly dissipated. After Halloween and entering November, the second week’s box office surprisingly reached $27 million! Most moviegoers who saw the film in theaters expressed praise, and word of mouth from these fans brought in more viewers. Therefore, the second week’s box office exceeded the first week’s.

With that, the total North American box office was just over $50 million, nearly securing the film’s budget. If it continues this momentum and with the help of Adrian’s previous two films, The Shawshank Redemption’s overseas distribution rights had already been sold early. Universal would not only recoup its investment but was sure to make a profit.

Thus, in mid-November, Universal hosted a medium-sized celebration banquet at the Beverly Hills Hilton Hotel for the remarkable success of The Shawshank Redemption.

(Well, finally, the first chapter’s cliffhanger will be filled tomorrow. Bring your tickets, everyone)