Although the crew only sent Duke to represent them, Warner Bros. had paid considerable attention to this market. Warner's subsidiary in this region collaborated with China Film Group to promote Taken.
This film did not touch on any sensitive issues; even if there were any, they were related to France's immigration problems. The PG-13 rating ensured no overly graphic scenes were included.
Whether it's official capital or private capital, the pursuit of profit is always the goal. Duke had proven countless times that his films could generate unimaginable revenues, so China Film spared no effort in promotion.
After all, the painstaking efforts of China Film Group to invite him here were not about Sino-American friendship or goodwill but about maximizing profits.
Of course, in Duke's view, this was a win-win cooperation; otherwise, he wouldn't have flown over.
During the film festival, reports and advertisements for Taken could be seen everywhere in the local media.
"Duke Rosenberg's films have, to a great extent, pushed the international promotion of Hollywood commercial films forward. In the minds of ordinary Chinese audiences, Duke is the most well-known Hollywood director. His works, such as Speed, The Rock, Saving Private Ryan, The Matrix, and The Lord of the Rings trilogy, have all been introduced to domestic theaters and are deeply loved by fans."
"After just winning the Oscar for Best Director, this globally acclaimed master of commercial blockbusters brings his latest counterterrorism thriller Taken to China. It's said that this film includes all the elements of a commercial blockbuster—star-studded casts, thrilling car chases, slick action scenes, and more, making it highly anticipated..."
On June 10, 2004, before sunset, a large crowd of movie fans had already gathered in front of Shanghai Film City. They eagerly awaited the chance to witness the charisma of a top Hollywood director.
In addition to the fans, numerous entertainment reporters and industry professionals also assembled, including Jiang Xiaojun and Ge Guangtou, who had arrived early.
"This is incredible. Truly incredible."
Standing in the waiting area at the front of the film city, Jiang Xiaojun spoke in a Beijing accent to Ge Guangtou. "This director is no ordinary figure. Two years ago, when I attended the Cannes Film Festival, he showcased one film, and it overshadowed the entire festival. The organizers were deeply embarrassed. I heard the Cannes board decided they wouldn't invite him again unless he formally participated in the competition category."
"World's number one in personal box office earnings," Ge Guangtou adjusted his bow tie and looked at the director walking the red carpet below. "If you can manipulate film festivals or Oscars behind the scenes, box office success is hard evidence."
"Exactly!" Jiang Xiaojun gave a thumbs-up. "In my opinion, he's the king of commercial films. The box office says it all."
Just like in Hollywood, Duke walked briskly along the red carpet. While there were plenty of fans around, they weren't overly enthusiastic. After all, he wasn't a celebrity who captivated fanbases. Directors here weren't as prominently celebrated as in the West.
Maintaining his usual style, Duke refrained from signing autographs for fans or posing for photographs. As the highlight of the premiere, he quickly traversed the long red carpet.
Taken was not a competition entry but part of the exhibition section. After a routine interview, Duke, along with Warner Bros. personnel, entered the large theater hall. Before the screening, he took the stage to deliver a brief speech, following local customs.
His remarks, prepared by Warner Bros.' Greater China PR team, were nothing more than compliments about the festival, local audiences, and the promising future of the regional film industry.
Then the film began.
Compared to the lengthy Lord of the Rings trilogy, the carefully edited Taken ran for just over 90 minutes, much like Duke's earlier works Speed and The Rock. The pacing was tight, and the tempo fast.
While retaining the original framework, Duke made numerous edits, especially to the opening sequence.
After the standard intro, there were no lengthy opening credits. The film immediately dove into the action: Bryan Mills, a retired CIA operative, stormed a warehouse, taking down criminals one by one with sharp efficiency before taking out the core members of a human trafficking ring in their office.
This opening sequence lasted less than five minutes. Bryan's combat style lacked any flair—every move was direct and deadly, conveying the realism of actual combat.
"This isn't kung fu," Ge Guangtou remarked to Jiang Xiaojun. "Didn't they say kung fu is trending in Hollywood? Ever since Duke Rosenberg's The Matrix, it's been popular there. Why did he abandon kung fu?"
"Who knows." Jiang Xiaojun shrugged. "He's one of the best directors globally, at least in commercial cinema. To reach where he is now, his market instincts must be sharp. Could it be that kung fu films are declining in Hollywood?"
Not only an actor but also a director, Jiang Xiaojun had a keen sense despite his inability to direct films for the time being due to certain circumstances.
The plot of the movie was straightforward: Bryan, after completing his last mission, retired early to care for his daughter. During a farewell gathering with three close colleagues, he frequently mentioned his estranged family and beloved daughter, subtly highlighting his fatherly love.
Like any typical Hollywood action film, after the opening action scene came the plot setup. Through Bryan's nostalgic photo album moments, the audience learned about his heroic but wounded past, complete with a broken family, much like all classic heroes.
Bryan's relationships with his ex-wife and daughter were strained, but these did not overshadow his unwavering paternal love—one of the world's greatest emotions, clichéd yet undeniably moving.
Due to his line of work, Bryan was keenly aware of the world's darker sides. With a beautiful, naive daughter, it was inevitable for him to shoulder immense responsibilities.
Thus, when his daughter, through some deceitful maneuvering, traveled to France for a trip, she and her friend were abducted by a human trafficking gang, leaving the father with only 96 hours to rescue her. Like a hurricane, Bryan was about to sweep through Paris.
As they say, "No enmity surpasses that between a father and his child." The same could be said for fathers and daughters. To fulfill their dream of following U2's European tour, the daughter lied about visiting museums in Paris.
Her companion, unreliable and infatuated with a charming man at the airport, not only shared a cab with him to their accommodation but also fantasized about sleeping with him. She even encouraged the still-innocent daughter to embrace the French romance and complete her "life evolution."
But before half an hour passed, the "charming man" had his gang abduct them.
As she wasn't a virgin, the companion lacked the high resale value to wealthy clients. Injected with drugs to be prepared for prostitution, she died from an overdose, a tragic end.
Youth often idealizes the world, imagining romantic encounters and serendipitous adventures, oblivious to its dangers.
At this moment, a father with deep love for his daughter and a past filled with unique skills—a man fueled by anger and determined to save his child—could do anything without drawing audience criticism.
In fact, parental love, more universal than romantic love, resonates deeply with audiences. Bryan's actions personified the greatness of a father's love, effortlessly touching hearts.
Perhaps another actor, swift and muscular, could make the film enjoyable. Still, Liam Neeson's performance elevated Bryan, imbuing him with the grandeur of a mythical hero.
Tall and agile, polite yet brimming with latent energy, Neeson's restrained emotions erupted in the torture scene of an Albanian criminal, delivering a chilling performance. The moment Bryan drove a nail into the man's leg, the audience could feel his pain as a father seeking vengeance, not just a former operative pursuing justice.
From America to Paris, Bryan, a former CIA operative and aging father, embarked on a ruthless quest to prevent his daughter from falling into despair. He left a trail of destruction in his wake.
To save his daughter, Bryan stopped at nothing.
This was a classic Hollywood action film, but Bryan differed from traditional heroes. His methods were harsher, his strikes more unforgiving, yet no one found fault in his actions.
Duke's films never lacked immersion. The plot was meticulously structured to make audiences wonder: if a loved one were abducted, would they, in a fit of rage and with enough ability, make the same choices as Bryan?
The answer was clear: blood is thicker than water in this world.
When Bryan exacted bloody vengeance, sparing none of the human traffickers who deserved to burn in hell, the audience couldn't help but wish for fathers like him to ensure a harmonious society.
"Hey, Xiaojun," Ge Guangtou suddenly said. "You should make your daughter watch this film!"
Thinking about his rebellious daughter, Jiang Xiaojun nodded. "She really should."