The last "tear" of Hong Kong movies also stayed!
On April 20, early in the morning, Hong Kong media reported the news that Shaw's Clearwater Bay had become a mansion in the form of a front-page headline.
Hong Kong people are deeply aware of the affection, but there is nothing they can do.
In fact, Shaw's Clearwater Bay set was planned to be demolished and rebuilt as early as 2002 to build a comprehensive residential and commercial complex, but due to various oppositions, it has not been able to make the trip.
Therefore, the Shaw brothers did not sell to Fosun International for HK$1.5 billion until 2014.
Fosun International proposed a redevelopment plan in 2018 to develop 749 residential units and 180 hotel rooms, which was approved by the "City Regulation Council" at that time, but it was postponed due to the opposition of Hong Kong people.
In desperation, the "Ancient Counseling Committee" had to re-evaluate the "First-class Historical Buildings" of the entire Shaw Studio complex: the administrative building of shaw set was rated as a first-class historical building; studios 1 to 6, kata warehouses, dubbing rooms, color printing rooms, Shaw's villas, no. 2 to 4 dormitories and production departments were rated as grade II historical buildings; no. 7 to 10 video studios and guard rooms were rated as grade III historical buildings.
As a result, Hong Kong's Antiquities and Monuments Ordinance can only protect some of the buildings on the set.
So, until the beginning of this year, the project was approved at a price of $6,000 per square foot, involving about HK$6.3 billion; in February, the construction plan was unveiled: in addition to the Shaw Xingzhi Building, the adjacent katakura and the dubbing room reservation, the project will be completed 38 buildings, of which 37 will be residential, including 14 three-storey mansions, 23 six- to eleven-storey strata, some two-storey underground garages and one-storey car parks, and another clubhouse with a total area of about 1.05 million square feet.
Leung Pei-hong, senior director of Hong Kong Huafang Consulting and Appraisal, said that the project is located in The Sai Kung District, the "back garden" of Hong Kong, next to the Hong Kong University of Science and Technology, and the location of the plot can be seen in the sea view of Silver Line Bay, which is very suitable for the development of large and medium-sized luxury housing projects.
The industry conservatively estimates that the market valuation of the project will exceed HK$20 billion!
How can this scene not make people sigh and sigh?
Hong Kong is known as the "Hollywood of the East", and the Shaw Clearwater Bay Studio, which has a history of more than 60 years, is known as "Hong Kong's Dream Factory and Star Factory", and countless Hong Kong filmmakers have lived and worked here.
The second dormitory, the guests include director Yan Jun and Li Lihua, actor Zheng Peipei, etc.; the third dormitory is inhabited by famous directors and movie stars, including Zhang Che, Liu Yong, Wan Ziliang, Er Dongsheng, Hui Yinghong, etc.; singer Wang Jie also spent his childhood here, because his father Wang Xia was also an actor of Shaw.
Today's Hong Kong filmmakers, which one talks about shaw's set is not a flying eyebrow dance?
Today's Hong Kong audience, which one mentions that the Shaw set is not a family treasure?
That's because it not only symbolizes the glory of Hong Kong films, but also carries the memories of many Hong Kong people; it is also a tear of the times, reflecting the helplessness and loneliness of today's Hong Kong films.
Let's take the "supernatural incident" on the Shaw set, which the melon-eating masses are talking about, as an example, to see how many Hong Kong filmmakers carry the bitterness and grievances behind it.
In Shaw's Building 6 dormitory, there is a "milk tea mother-in-law", and when the actors go to the toilet, they will always hear an old woman knocking on the door and asking: "Do you drink milk tea?" ”
Later, Karen Mok also restored this scene in the movie.
In fact, isn't this a mirror of Shaw's door-knocking?
Zheng Yijian encountered a chandelier falling on the set, and vowed to "see the little phoenix fairy in costume".
In fact, isn't it to express dissatisfaction with the safety hazards on the Shaw set and the fact that the costumes have not been changed for many years?
Teng Liming entered the Shaw set for the first time, saying that he could not see himself in the mirror in front of him, and could only see it in the fourth mirror.
Isn't she expressing exactly what the newcomer actor "means" when he is bullied?
As for the filmmakers who committed suicide before and after Shaw's dormitory: Qin Jian, Li Ting, Lin Dai, Lin Feng, Bai Xiaoman, Hong Bo, Du Juan, Li Yunzhong, etc., they all had to complain about this "star-making factory" one tragedy after another.
Shaw is great, making outstanding contributions to Hong Kong films and even Chinese films; bringing countless memories of light and shadow to the audience, providing countless resources and opportunities for actors to counterattack in life. But Shaw is ruthless, exploiting actors and squeezing employees, resulting in one tragedy after another. Beneath the tall buildings, there are a lot of white bones; behind the glamorous and beautiful, there is an unsightly side.
It is precisely based on this complex emotion that Hong Kong people regard Shaw's set as a medal with the stubbornness and brilliance of Hong Kong films; they also regard it as a scar with the bitterness and helplessness of Hong Kong filmmakers.
Guan Jinpeng filmed "Rouge Buckle", borrowing Mei Yanfang's mouth: "Twelve youngsters, I have seen many people along the way, there are groups of Shaw female stars. I've been waiting for you for 53 years and looking for you for 53 years, but I don't want to wait any longer! ”
Time has waited for Shaw for many years, but it does not know how to seek innovation and change in its self-sufficiency, so the times have slowly abandoned it; Hong Kong films have also waited for Shaw for many years, but it has become smaller and smaller, more and more biased, and finally it has survived by selling land; Hong Kong actors and audiences have also waited for Shaw for many years, but it is difficult to come up with works that conquer the market and the audience. In the end, Shaw turned into a tear in Hong Kong cinema.
A few years ago, when shaw's costume street was transformed into the Lee Shau Kee Business School Building of the Hong Kong University of Science and Technology, many Hong Kong people were in love with it and couldn't help but cry. This place where Bruce Lee, Jackie Chan, Dillon and Stephen Chow filmed eventually became a classroom for teaching people to do business.
A few years later, when Shaw's set was completely demolished, only a few symbolic places were left, and the last tears of Hong Kong cinema remained. Presumably, it will soon be a new rich area, right?
Time is like a ruthless rag, erasing many things: Zhang Che's martial arts films, Li Hanxiang's fengyue films, Lin Zhengying's zombie films, Bruce Lee's kung fu films, Xu Guanjie and Rowan's songs; time is also like a vibrant seed, filmmakers go to sow seeds, and the fruits are called movies; real estate developers go to sow seeds, and the fruits are called mansions.
It's all there is to it!
After all, the movie is just a commodity, when the word of mouth is exhausted, the feelings are sold out, and what is left is only your and my regrets.
A few years later, if we are fortunate enough to revisit our hometown, in the high-rise buildings that rise from the ground, we can find the original memories, we can remember those dusty past events, and we can still be full of confidence and love for Hong Kong movies.
- That's enough.