Chapter 114: The Irresistible Bastard

[Chapter 114: The Irresistible Bastard]

At 5 p.m., the rehearsal ended. Martin acted like he really hit it off with Charlie and took the initiative to invite him out to dinner. Charlie didn't refuse. The group went to a nearby upscale restaurant, enjoying a lively dinner together, filled with laughter and chatter.

After dinner, when Charlie agreed to attend the party Martin was hosting that night, Martin was even happier.

...

Around 7:30 p.m., Chicago officially began its performance. Sitting in the dimly lit theater, Charlie watched the show seriously. Rachel, sitting next to him, thought he was just pretending. Thinking that Vera would soon become the next victim, Rachel felt a sense of schadenfreude bubbling inside her. Excited and eager, she kept pestering Charlie, "When are you planning to tell Vera you're breaking up with her?"

Charlie seemed distracted. "Tonight or early tomorrow morning."

Rachel leaned on Charlie's shoulder with a cheerful grin. "Great! I'll definitely help. By the way, I noticed the way you looked at Ms. Gyllenhaal today -- your eyes were sparkling. Want me to help get her right where you want?"

Charlie gave a look of disbelief and focused on the stage, weakly replying, "I don't want to commit a crime -- she's still just a kid."

Rachel pouted, "She just turned 19 this year. Not a kid anymore. I'm just helping you hit on her, not kidnapping her. No need to be so cautious." Seeing Charlie's attention fully on the stage, she sighingly shook his arm. "Talk to me here! I don't think you actually like this kind of classical musical."

Charlie responded calmly, "Yeah, of course, I don't like it. But I do like money and power!"

"You mean you really want to turn Chicago into a movie?" Rachel asked in surprise. "Oh my God, you didn't come to see Vera perform; your real reason was the musical, right?"

Charlie showed no shame, "Exactly. You've ruined my interest in Vera. I don't want to hurt another woman's feelings. You're an accident -- the first and last."

Rachel cursed him under her breath, calling him a bastard, then glanced at the performance curiously. "Is Chicago a good project? I don't even think you can understand it."

The musical Chicago was originally adapted by reporter Maureen Watkins from the Chicago Tribune in 1924, based on two real female murder cases of the time. Given the social backdrop, women committing murder was a novel topic that attracted public attention. Both women were acquitted after trial. But the story's drama also reflects a deep and broad social background in American society.

Think about America in the 1920s and 30s -- clearly, Charlie couldn't fully grasp this, and neither could Rachel. Without understanding the context, one would just see Chicago as a bizarre but interesting female murder case.

Charlie admitted this and explained the background. "You're right. As a regular audience member, I'd find it boring. For example, the protagonist Velma Kelly's profession as a vaudeville performer -- that's an entertainment style that originated in France in the late 19th century.

Although it was once hailed as the 'heart of American show business' and even influenced today's stand-up comedy TV shows, it's too old-school now and has changed a lot."

Rachel was stunned for a moment. "But where did you learn all this? You didn't even go to college or have any theater degree."

Charlie smiled. "If I want to be a great producer and a movie studio boss who constantly discovers great content, I have to keep learning. Remember the day we met -- at the bookstore?"

Rachel was instantly transported back to that moment -- a young handsome man appearing from behind the bookshelf in the warm yellow light. She felt a bit sad; she had once thought that was a uniquely romantic encounter. Alone in a foreign city, struggling through the lowest moments, a charming and witty prince who casually talked about art and seemed so strong to lean on! Who would have thought it was actually the beginning of a nightmare?

Feeling a flood of emotions, Rachel took a deep breath to shake off the memory. She shifted her position to lean more comfortably against Charlie and teased softly, "Alright then, but you still haven't told me why Chicago is a good project if it's as old-fashioned as you say."

Charlie grinned, proud of how easy it was to touch her heartstrings, and continued, "Listen, you'll understand. First, there's the dramatic conflict: two female murder suspects were acquitted. Even novice writers, directors, or ordinary audience members know that has appeal. It's a basic element of entertainment products!

Today, it may not be very unique and the rights are expensive. So, it's not very attractive to big studios or indie companies. But it has the potential to be a blockbuster and win awards!"

Rachel was intrigued, cleverly catching some of Charlie's ideas. "You mean musicals appeal to those old-fashioned academy types who are nostalgic?"

"Yes, that's one point! And the blockbuster potential lies in the background."

"The 1920s setting and now?"

Charlie nodded with a smile.

The social background of Chicago is the so-called Jazz Age, more broadly known as the Roaring Twenties. It was a period of economic prosperity and cultural flourishing in cities like New York, Berlin, and London. In America, it overlapped with Prohibition. Charlie didn't elaborate on Prohibition but highlighted two aspects:

"The ban on alcohol led to countless underground speakeasies where dances like the Charleston were improvised by young people rebelling against traditional culture. Youth are always rebellious; being anti-traditional is quite an interesting phrase.

But what I want to talk about is women.

The 19th Amendment to the US Constitution in August 1920, granting women the right to vote, marked the peak of women's suffrage movements.

In other Western regions, the Flappers culture also surged. I guess you've heard about it."

Rachel's eyes lit up. "Of course! Women began wearing short skirts, heavy makeup, smoking in public, driving cars, and breaking free from the tight corsets of the Victorian era. It wasn't just about freeing the body but also liberating the spirit!"

Charlie smiled and nodded towards the stage where actors in extravagant and revealing costumes were jumping wildly. "From my perspective, the two key themes this movie can capture are: free women and rebellious anti-traditionalism."

He paused, then said with a mixture of sarcasm and sentiment, "Although rebellion often goes too far, as the play shows -- the two female suspects were acquitted simply because they were women."

Watching Charlie dissect the drama and weave together the fascinating historical background so naturally, especially about free women, Rachel's heart was stirred once again.

*****

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