Respect and listening are needed.

It's important to recognize that both praise and criticism are necessary, helping filmmakers create better products for the public. However, fair and objective evaluation is crucial to avoid situations being taken too far and causing unforeseen consequences.

Film adaptations or inspirations from literary works are a popular trend among filmmakers. The French newspaper Figaro once stated: "One in five films is an adaptation of a book."

In Vietnam, throughout the 70-year history of revolutionary Vietnamese cinema, film enthusiasts have enjoyed many outstanding films inspired by famous literary works:

“Sister Dau” (adapted from Ngo Tat To's novel “Turning Off the Lights”), “A Phu's Couple” (based on To Hoai's work of the same name), “Mother Absent from Home” (adapted from Nguyen Thi's work of the same name), “The Village of Vu Dai in Those Days” (adapted from several short stories by Nam Cao), “Me Thao - A Glorious Era” (adapted from Nguyen Tuan's work “Chua Dan”,…

Recently, many contemporary literary works have also attracted the attention of directors and been adapted for the screen, such as the films "Heaven's Mandate Hero" (adapted from Bui Anh Tan's "The Blood Letter"), "Pao's Story" (adapted from Do Bich Thuy's "The Sound of the Mouth Harp Behind the Stone Fence"), "Huong Ga" (adapted from Nguyen Dinh Tu's "The Version"), "Endless Fields" (adapted from Nguyen Ngoc Tu's novel of the same name), "I See Yellow Flowers on Green Grass", "Blue Eyes" (adapted from Nguyen Nhat Anh's novel of the same name), "Brilliant Ashes" (adapted from two short stories by Nguyen Ngoc Tu, "Brilliant Ashes" and "Drifting Rotten Wood")...

In addition, many classic literary works continue to be adapted into films by filmmakers, such as "Cậu Vàng" (inspired by several short stories by Nam Cao); "Kiều" (inspired by "Truyện Kiều" by the great poet Nguyễn Du), and most recently "Đất rừng phương Nam" (inspired by the novel of the same name by Đoàn Giỏi)...

Despite high expectations and significant dedication, not every film adaptation or inspiration from a literary work achieves the desired success.

Some films even face mixed opinions and harsh criticism during production. For example, the film "Cậu Vàng" (Golden Boy) received continuous negative reviews and criticism regarding both its script and technical aspects before and after its release.

Most notably, the producers chose a Japanese Shiba Inu to play the role of Vàng in the film. On the other hand, according to viewers' reviews, the film's sloppy and artificial portrayal in every frame and scene was irritating to the audience. After two weeks of release, the film "Cậu Vàng" was forced to withdraw from theaters due to a lack of viewers.

The producers accepted heavy losses when the film, which cost 25 billion VND to produce, only grossed about 3.5 billion VND. Sharing a similar "tragic" fate was the film "Kieu". Upon its release, the film faced fierce backlash from audiences, with many arguing that the use of the Vietnamese alphabet was historically inaccurate, and that the character designs and costumes were inappropriate.

However, the most serious "flaw" of the film, according to many viewers, is its deviation from the literary original, with fictional details that are difficult to accept, not to mention some "explicit scenes" that are considered vulgar and detract from the beauty of The Tale of Kieu.

After 18 days of screening in theaters, "Kieu" had to accept defeat, earning nearly 2.7 billion VND, while the producers stated that the film needed to reach 100 billion VND in revenue to break even. Clearly, according to market principles, quality and audience appeal are the decisive factors in the survival of a film.

Most recently, the film "Southern Forest Land," which just premiered, has also faced backlash from viewers regarding inappropriate costumes worn by the actors, plot deviations from the literary work, and the names of some groups featured in the film that might lead viewers to associate them with certain foreign organizations, etc.

At the same time, some opinions suggest that the fictional elements in the film have distorted history. Respecting and incorporating audience feedback and suggestions from relevant authorities, the film crew of "Southern Forest Land" proactively proposed revisions to some details in the film, aiming to provide viewers with the best possible experience.

This move demonstrates the film crew's willingness to improve, but it also undeniably reveals a lack of sensitivity and subtlety on the part of the production team in scriptwriting, set design, and directing, resulting in a film that evoked negative emotions in a segment of the audience.

Regardless of the justification, the responsibility for the inclusion of details that could mislead the audience rests with the creative team. More than anyone else, the film crew of "Southern Forest Land" has learned this lesson the hard way in recent days.

The unfortunate incidents involving films like "Cậu Vàng," "Kiều," and "Đất rừng phương Nam" will undoubtedly serve as a valuable lesson for filmmakers. While the success of a literary work can lead to public interest in a film, it's also a double-edged sword.

Because if filmmakers fail to properly utilize material from literature, only providing half-hearted illustrations or making excessive adaptations that don't convey the original work's message, or even distort the work entirely, the damage to the producers is enormous. This not only results in box office failure but also severely impacts their reputation and career.

Adapting or drawing inspiration from literary works presents both opportunities and challenges for filmmakers in creating a different "version" through the language of cinema.

Success can only be achieved if a film respects the spirit and core values of the original literary work, while also opening up a new creative space for filmmakers, aligning with contemporary trends, and appealing to and satisfying the needs and tastes of the audience. Only then will such success be truly sustainable, and the film will have a lasting place in the hearts of viewers.

The development of the issue has shown that the viewer's receptive psychology has a very powerful influence on cinematic works in general, as well as films adapted from or inspired by literary works in particular.

Whether they like it or not, viewers will inevitably compare the film to the original literary work they once admired. In many cases, the powerful impressions and emotions from the literary work lead many to expect the film to allow them to relive those intense and wonderful feelings.

The perceived beauty and charm that many people have ingrained in their minds make it difficult for them to accept a film adaptation with different approaches that don't align with their expectations.

Therefore, in some cases, there have been excessive, even extreme, reactions. Of course, it's impossible to force an individual to change their impressions and feelings towards the original literary work, but I think a more open-minded approach to the film adaptation is necessary.

We do not accept filmmakers' creative interpretations that distort history or portray characters in a deformed way. However, the creation of new characters, new settings, and new experiences that are consistent with the spirit of the original literary work and appropriate to the culture and era should be appreciated and recognized, as this is the creative spirit that filmmakers should possess.

Furthermore, filmmakers need to listen to and respect the audience's emotions. Conversely, the audience also needs to give filmmakers the opportunity to create their own creative space.

Sadly, in recent times, there have been instances of uncivilized behavior. Simply because they disagreed with certain details in the film or the actors' performances, some viewers have harshly insulted the film crew, made personal attacks, and even dragged up private matters to attack them.

For example, in recent days, regarding the film "Southern Forest Land," instead of simply evaluating and commenting fairly, civilly, and frankly, the situation has become increasingly complicated as someone has spread false information that "the Central Propaganda Department has informed the Ministry of Culture, Sports and Tourism to request the producers of the film 'Southern Forest Land' (which many believe is an abbreviation for Southern Forest Land) to revise the content reflected in public opinion."

On October 18th, just five days after its official release, social media was flooded with information claiming the film had been suspended. Simultaneously, information about "Chinese media publishing articles about the film 'Southern Forest Land' and thanking Vietnam for making a film about them in the 1920s" was shared rapidly, causing widespread confusion. However, all of this information was fake news.

These unhealthy manifestations have had and continue to have a negative impact on public opinion in general and filmmakers in particular. Director Bui Thac Chuyen's statement partly reflects the sentiments of those working in Vietnamese cinema: "Controversy is necessary and positive, but please don't be extreme."

Perhaps this is a time when filmmakers, government agencies, authorities, and audiences need to remain calm, respectful, listen to each other in good faith and with an open mind, and act fairly and objectively.

On that basis, the issues will be resolved satisfactorily. And this is also one of the essential factors contributing to building a professional, modern Vietnamese film industry with a strong national identity.

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