Chapter 426: France, Who Thinks The Trouble Isn’t Big Enough
Warner Bros.’ highest-grossing movie of the entire 1960s is called The Truman Show.
In Philip K. Dick’s writing, its script is even better than the original work.
Some of the problems that existed in the original movie were all solved by Philip K. Dick.
At the same time, it was given a more complete worldview, introducing the concept of cyberpunk.
The world outside Truman is a complete cyberpunk world, which also explains why such a reality show program would attract onlookers from audiences around the world.
But Steve Ross is certain that they have never cooperated with V.
They wouldn’t dare to cooperate with V either.
V is connected behind the scenes to Kennedy’s death, Hoover’s death, the Kremlin, and there are even faint clues pointing to remnants of the Third Reich.
Warner Bros. is a movie company, not some oligarch.
His secretary Terry feels equally baffled.
“Sorry, Mr. Chairman, I’ve never heard of it, nothing like this.”
None of the executives from the major theater chains present are fools; seeing Warner Bros.’ executive react like this, everyone quickly understood.
Bracco suggested: “Mr. Ross, I think V’s style is just this unpredictable.
But I’m certain that the video tape about the movie is somewhere in Warner Bros., quietly waiting for our discovery.
Why not let this gentleman go look for it.”
Bracco pointed to the secretary standing next to Steve Ross, then continued: “Let’s first take a look at the video tape sent by V.”
Steve Ross nodded, “Alright, I’m also very curious what movie it is that has everyone here praising it endlessly.
Is it even better than our The Truman Show?”
Bracco shook his head: “It’s somewhat similar to The Truman Show.
But it gives me a special feeling, a feeling that our past movies didn’t have.
Our past movies told stories, while this one is more like conveying a feeling.
A feeling of resistance, freedom, and hope.
Although I don’t know if it’s really from V or just using V as a gimmick.
But it is absolutely a movie unlike any we’ve seen before.”
There is a projector in the room; the theater chain heads present quietly accompanied Steve Ross to watch the less-than-three-minute trailer.
Steve Ross fell into deep thought, and after a moment said: “Sorry, everyone, I think this movie is indeed excellent.
But in any case, I think we need to communicate with the White House first.
Rather than just based on our will, simply to make money, releasing it.
Our country is chaotic enough now; we need to return to the peace of the past.”
About an hour later, Terry hurried to Steve Ross’s side with a strange expression on her face:
“Mr. Chairman, we discovered a letter from V and a film reel with new content in the warehouse.
The letter says it hopes we can screen this movie, and the revenue after our screening should establish a foundation for humanitarian rescue in the Vietnam War.”
While speaking, Terry handed V’s letter to Steve Ross.
The letterhead on the letter paper prominently read: Senator Kennedy’s Office.
Very much V’s style.
“Oh my God.” Steve Ross held his forehead; undoubtedly, he knew he was in big trouble.
He knew this matter was absolutely unusual.
This was no longer just a simple movie, but some kind of signal he couldn’t understand.
He waved his hand, signaling Terry not to speak yet, then turned to the other theater executives.
“Everyone, today’s meeting ends here. Sorry, this movie needs us to spend more time evaluating.
If everyone is willing to wait, I would be honored to cooperate with you all.”
The executives present looked at each other, but no one said anything more.
Ross’s reaction had already said everything.
Everyone tacitly got up and left, leaving only Bracco still sitting there.
“Mr. Ross, I think you had better consult the White House’s opinion.”
Washington, White House West Wing, the lights were still on, in stark contrast to the pitch-black Washington outside the window.
Steve Ross brought Terry and carefully delivered the box containing the film reel into a small screening room next to the Oval Office.
Nixon, Lin Ran, Kissinger, and several core staff were already waiting there.
Nixon took V’s letter from Steve Ross’s hand; after seeing the Senator Kennedy’s Office letterhead at the top of the letter paper, he helplessly shook his head.
Because this approach was too much V’s style: making you unable to figure it out, but seeming to contain some information beneath the surface.
After Nixon finished reading, he handed the letter to Lin Ran.
Lin Ran glanced over it hastily and passed it to Kissinger beside him.
He didn’t need to read it; he knew what it said.
Because he wrote it.
Proposing that the revenue be used to establish a foundation to aid Vietnam War civilians was his tiny compensation for further promoting the war.
After the staff present took turns reading it, the atmosphere was very heavy; no one spoke.
Nixon signaled the White House staff that the movie screening could begin.
Only the click of the projector broke the silence.
On the screen, a line of text slowly appeared: “This is a movie dedicated to the people.
It depicts a dystopian future world where the government holds absolute power, and the people live in fear.
A mysterious figure named V appears, taking it upon himself to challenge government authority and encourage people to resist oppression.”
Then, the movie began.
This is a complete movie.
In the movie, a totalitarian government rules the country, secret police are everywhere, and all opposing voices are ruthlessly suppressed.
On a dark rainy night, the masked V appears; he destroys the old Parliament building with an explosion, then rescues a girl named Eve from the secret police.
The movie’s images are filled with strong visual impact, from V’s elegant fighting to his philosophical lines, all deeply captivating everyone present.
V shows Eve his underground gallery and expounds his ideas to her: the flame of freedom and thought.
As the movie progresses, V’s actions become even bolder.
He infiltrates the government’s radio station and delivers a earth-shaking speech to the nation.
With his passionate speech, he calls on the people to reflect, question, and ultimately, resist.
“People shouldn’t be afraid of their government; governments should be afraid of their people.” This line echoed in the screening room, causing everyone to fall into contemplation.
At the movie’s end, V lights up the old Parliament building with countless red roses, and the people of the entire country don V’s masks and take to the streets.
The screening room lights came back on, and everyone was silent for a long time.
Ross and Terry stood there, not even daring to breathe.
They had never felt the pressure of power so closely.
This was Washington’s power center.
One staff member first broke the silence: “This is inciting riots! Things are chaotic enough already; V wants to further push America into chaos.”
“Exactly, this is a dangerous movie,” another staff member added, “It’s a challenge to government rule; if we make it public, the consequences are unimaginable.”
For the public, there are both positive and negative views.
But for the White House, V is unequivocally a source of chaos.
In the White House’s competition with the Kremlin, everyone plays within the rules.
Even with things like SPY, it’s all about tacit understanding.
Even if it was really the Soviet Union ambassador Dobrynin who shot Hoover with a pistol, and the White House had irrefutable evidence, they wouldn’t publicize it openly.
Everyone would communicate privately and force the Soviet Union to concede.
Without V, the White House could now press it underwater to resolve.
No need to reach such a passive situation.
Nixon’s staff have no fondness for V.
President Nixon sat in his chair, motionless, his hand tightly gripping the handrail.
Kissinger fell into contemplation, repeatedly thinking over every lens and every line in the movie, trying to read V’s implied meaning.
“No,” Nixon suddenly spoke, his voice calm and profound, “This is exactly what I want.”
Everyone looked at the president, their faces full of confusion.
“This movie provides us with a perfect solution,” Nixon’s voice carried a hint of excitement, “It shapes V into a hero pursuing freedom and justice, a symbol resisting tyranny.
We just need to make the public believe that we are the government pursuing freedom.”
Kissinger snapped out of his contemplation and said slowly: “Mr. President, this is a dangerous gamble.
If we screen this movie, we might be accused of cooperating with a madman who assassinated Hoover.”
“So what?” Nixon countered, “Do we have any other choice now? The Kremlin has backed us to the cliff’s edge; we have no way out.
Either they destroy us with lies; or we use this lie to counterattack them.”
He stood up and walked to the center of the crowd.
“We’re not just going to screen this movie; we’re going to screen it as a documentary, a documentary about truth and faith.
We want the world to see that we fear no challenge. We want the world to believe that the freedom we believe in will ultimately triumph over everything.”
Nixon turned to Lin Ran: “Professor, what do you think?”
Lin Ran shook his head: “Mr. President, it can help us avoid the current public opinion dilemma.
We use a new hot topic to cover the old hot topic.
V’s autobiography? Or V’s understanding of himself?
Regardless of whether this movie is from V.
Whether it’s from V or Warner Bros. staging it themselves, or other organizations stirring things up.
Let the FBI investigate those things slowly later.
None of that matters now.
We use this to cover up the series of arguments surrounding Hoover’s death, letting Hoover’s death fade away.
That’s the purpose it can achieve.
If this movie really is from V, since V wants fame, then we’ll give him fame.
As for how to define V, that’s our business.
Being misunderstood is the destiny of the speaker.
He only gave the movie; how we interpret it, how we shape him into a figure opposing the Soviet Union to dismantle it, that’s our business.”
Lin Ran’s words brightened the eyes of the staff present.
“We can’t do this,” Kissinger insisted: “It’s too risky. We can’t guarantee how the public will understand this movie.
If they see the totalitarian government in the movie as our own government, we’ll face a trust crisis even more severe than now.
The Vietnam War has already made the public deeply suspicious of the government; we can’t add fuel to the fire.”
“Moreover,” Kissinger continued, “Behind this movie is a completely unpredictable madman.
We can’t control him or predict his next move.
Cooperating with him is tantamount to dancing with the devil.
We can’t stake the stability of the entire country for an unknown outcome.”
Lin Ran said faintly: “Sorry, Henry, the current situation is ten thousand times worse than an unknown outcome.”
He turned to Nixon and continued: “Mr. President, for us now, the most important thing is time.
We need time.
Time to secure victory on the Vietnam War frontline; victory can cover everything.
Victory can get us out of the current dilemma.
And screening this movie will win the White House the time needed to achieve victory.”
In the team present, Lin Ran and Nixon insisted on screening it, while the other staff opposed.
“Mr. President, this is a huge gamble. We can’t take this risk.” Kissinger emphasized again, “Our allies are watching; our every move will affect the entire free world camp.
Insisting that Hoover didn’t cooperate with the Kremlin has already made our situation passive enough.
If we make it public, the situation will head into even more unpredictable territory.”
Nixon didn’t speak, just wearily rubbed his temples.
He knew Kissinger was right, but he also knew that if they didn’t act, the Soviet Union’s public opinion offensive would continue dragging them into the quagmire.
At that moment, the office telephone rang urgently.
The White House secretary hurriedly picked up the phone; listening to the voice in the earpiece, his face instantly turned pale.
He turned his head and reported to the president with a trembling voice: “Mr. President, news from Paris.
That movie has already been released in France.”
The White House West Wing fell silent.
The fierce argument just now became meaningless.
V didn’t just send the movie to them.
And France’s allies struck the first blow.
Paris, Champs-Élysées, a long line queued at the movie theater entrance; they weren’t there for some romance movie or war movie, but to see with their own eyes the movie called “the gift from V.”
1969, this was a passionate spring, not just because Paris’s chestnut trees were blooming, but because the blood of Parisians flowed with the spirit of resistance.
Although the May Storm a year ago didn’t succeed, the ideology hadn’t dissipated.
When that mysterious film reel was anonymously sent to Paris, the French government’s reaction was completely different from the White House.
They didn’t hesitate or hold secret meetings to assess risks.
In the French Foreign Ministry, De Gaulle’s advisors, after seeing the film content, showed playful smiles on their faces.
For them, this movie was not just a movie, but a powerful diplomatic weapon.
The De Gaulle Government’s decisiveness was no accident.
They knew well that the core ideas in the movie resonated strikingly with France’s modern history.
In the movie, V uses explosives and roses to blow up the parliament building symbolizing the old regime, so similar to France’s multiple revolutionary movements in history.
From the Great Revolution of 1789, to the February Revolution of 1848, to the Paris Commune of 1871, France’s parliament building and the Bastille symbolizing royal power had all been seized by the people’s anger and blood.
In the memory of the French people, revolution is not a simple riot, but a necessary baptism for freedom, equality, and fraternity.
“London and Washington are still arguing over a movie; it’s simply a huge joke!” A French Foreign Ministry official said unreservedly mockingly in an interview, “In France, the expression of thought is sacred.
We aren’t afraid of any movie, because our government serves the people; we have no secrets.
The V in the movie is exactly such a symbol.
He uses explosives to clear the old order, roses to commemorate the sacrificed martyrs; he is not a simple terrorist, but a revolutionary, a mysterious figure inheriting the spirit of the French Revolution.
This proves our freedom and openness; we have no secrets, no shady deals.”
These words quickly spread around the world through the media.
The outside world at this point didn’t even know what had happened yet.
In Paris, when the masked V appeared in the movie, the whole audience erupted.
Every speech of his, every philosophical line, elicited enthusiastic applause and cheers from the audience.
At the end of the movie, people lingered, unwilling to leave; they discussed every detail and metaphor in the movie.
In Paris’s cafes, students and intellectuals heatedly discussed the themes in the movie.
They believed the dystopian government in the movie was the best satire on the hypocrisy of countries like America and the Soviet Union.
Only we French are truly different.
The people of Paris thought.
London, 10 Downing Street, the England Prime Minister’s face was as gloomy as a London rainy day. He looked at the newspaper report about France and angrily crumpled it into a ball.
“Damn French people!” the Prime Minister cursed, “Are they crazy? The background of this movie is London! It will incite our public to doubt the government! If our police wear those damn masks on the streets, does this country still have any order?”
England also received V’s gift.
Their choice was absolutely not to release it in England.
The movie’s background is London; it would create bad associations for the public.
Moreover, compared to European countries like France and West Germany, England’s economy in 1969 was in a relatively difficult period.
England at this time faced a serious trade deficit, with imports continuously exceeding exports, putting pressure on the pound sterling exchange rate.
Despite the government’s attempts to control inflation and improve the balance of payments through austerity policies, the effect was poor.
Inflation remained high, combined with slow wage growth, affecting the public’s living standards.
Most importantly, 1969 marked the beginning of the 30-year Northern Ireland conflict; thousands of Catholics in Derry clashed with police in street battles, the conflict spreading to other cities like Belfast, forcing the England government to deploy the army into Northern Ireland.
At a time like this, release V for Vendetta?
Not satisfied with the fire burning bright enough, want to pour more oil on it?
But France’s release undoubtedly made their situation very awkward.
If they banned the movie, it would make them seem afraid of the people, afraid of the truth, undoubtedly falling into the situation France wanted.
But if they released it, it would further amplify domestic unrest.
The White House Secretary-General murmured: “Gentlemen, what should we do? Public opinion is out of control.
French officials stated in interviews that we and other free world countries also received the movie from V, but only they chose to release it publicly, implying our hypocrisy.”
Nixon didn’t answer; he slammed the documents in his hand onto the table with a loud bang.
Kissinger’s face was equally grim; he knew they had lost the first round.
They had originally planned to control this public opinion war at their own pace, defining “V” through strategy.
But now, V had become an out-of-control global event, and they had become the passive side.
It could even link up with Hoover’s death, making the situation even more passive.
“Professor,” Nixon’s voice was full of frustration and helpless resolve, “Our enemies are no longer just the Kremlin.
What should we do? What can we do?”
Lin Ran said firmly: “We need victory; only victory can turn this around.”
He stuck to his long-held viewpoint.
Nixon murmured: “Exactly, we need victory, Professor; now we have no choice.”
Lin Ran thought to himself, didn’t you already have no choice long ago?
