August 1st, 2004, was a day of great significance. For the people of China, it marked the beginning of a new era where they would learn to stand tall and live with pride.
For the world, it was the birth of one of the greatest film franchises in history.
August 1st, 2004, was the premiere of Marvel's film, *Iron Man*. After two years of meticulous preparation and filming, this, the very first film released after the acquisition of Marvel and Marvel Studios by Boss Huang, was finally ready to meet the global audience.
However, to be perfectly honest, *Iron Man* did not receive much attention upon its release. Before the preview screenings, news of the film's upcoming premiere had only just surfaced. Many media professionals and critics began to publish articles denouncing Iron Man, citing several common reasons.
One such reason was the belief that the 21st century was no longer a domain for superhero films.
Another argument was that Marvel's survival depended on refining their comic book universe, not venturing into filmmaking.
And then there was the sentiment that audiences would not be fooled by old, outdated concepts, comparing it to serving fifty-year-old rations.
In summary, the entire online world was filled with unified pessimism. No one seemed to have faith in Marvel Studios' new superhero film.
This wasn't due to any behind-the-scenes sabotage against Marvel Studios or Boss Huang's investments in the US. Instead, it was a reflection of the prevailing sentiment in Hollywood at the time, which generally did not favor superhero films.
The earliest superhero films emerged quite early in history. If we were to be lenient with the definition, then *The Mark of Zorro* from 1920 could be considered the first superhero film.
If we were to narrow the criteria, then *Captain Marvel* from 1941 would be the first superhero film in history.
Sixty-three years had passed since 1941, demonstrating that superhero films indeed have a significant history in world cinema.
The peak of superhero films occurred in the 1970s and 1980s, spearheaded by the film *Superman*, followed by the release of *Batman*, which propelled the entire superhero genre to its zenith.
It's worth noting that both Superman and Batman originated from the DC cinematic universe, with no Marvel superheroes in sight.
In reality, Marvel superheroes had also been featured in numerous superhero films during this period. Superhero films were indeed the hottest cinematic trend then, with every release being a guaranteed hit.
As long as one could secure the rights to a famous comic book superhero and produce a decent film, massive profits were virtually assured, much like the infallible formula of 1+1=3.
However, this trend began to shift in the 1990s. Perhaps due to audience fatigue with superhero films, several superhero movies released in the early 90s experienced a complete box office flop.
As early as 1987, *Superman IV: The Quest for Peace*, the fourth installment of the *Superman* series, the acknowledged leader in superhero films, grossed a mere $15.68 million worldwide, against a production cost of $17 million.
One might argue that losing money on a film is normal, and this loss wasn't substantial, only a little over a million dollars.
But consider this: when the first *Superman* film was released in 1978, it grossed an astonishing $300 million, a twenty-fold increase compared to today.
The second film earned $120 million, and the third garnered $60 million. This downward trend clearly illustrates the declining public interest in superhero films.
The *Batman* films followed a similar pattern. Throughout the 1990s, audiences showed a complete lack of interest in superhero films, leading many film companies to incur substantial losses and develop a fear of the superhero genre.
The few superhero films that were produced and released out of sheer obligation generally resulted in catastrophic losses.
The sole exception was *Spider-Man*, released in 2002, which achieved a remarkable global box office revenue of $820 million. This led many to believe that superhero films were poised for a resurgence, a clear signal of their revival.
However, the subsequent superhero films that followed also met with dismal failure. Consequently, industry professionals quickly dismissed the impact of *Spider-Man* as a mere fluke, not indicative of the true market sentiment, and superhero films remained in decline.
This explains why critics were universally bearish on *Iron Man*. After all, this was a superhero who had never graced the big screen before. While he was one of the earliest superheroes created in the Marvel universe, he had never had his own film.
Now, with his standalone film set to be released, expecting the film critics to offer favorable reviews was almost impossible; *Iron Man* would have to prove itself through its own performance.
Although August 1st was the premiere date, it was effectively a preview screening. Since August 1st was a Sunday, a wide release on that day would undoubtedly lead to a dismal opening weekend box office performance.
For optimal box office results, blockbuster films are typically scheduled for release on a Friday, as this marks the beginning of the weekend, when a large number of viewers flock to cinemas, which is conducive to achieving impressive opening weekend figures.
But how does one entice audiences to the cinemas on a Friday?
The best method is to hold preview screenings. By giving professionals, critics, writers, or a select group of lucky audience members early access to the film a few days prior, they could provide their evaluations. Concurrently, these professionals would publish their film reviews in media outlets or newspapers.
A high rating from critics would naturally attract a considerable number of casual viewers.
Therefore, on August 1st, 2004, *Iron Man* held preview screenings, with ten showings in ten cinemas across the United States. Following this, ten showings would be held daily, allowing all professionals to see the film in advance and share their opinions.
The preview screening held at Grauman's Chinese Theatre in New York on August 1st was undoubtedly the most significant. This was because the film's entire cast, along with Boss Huang himself, would be present to promote and support the movie. Thus, the attendees were specially invited prominent media figures and film critics, whose opinions were crucial to the overall reception and word-of-mouth for the film.
Despite the festive nature of this premiere, it did not garner significant attention from the news media.
Firstly, *Iron Man* was not considered a popular film. It lacked any successful predecessors, nor did it feature a renowned director or famous actors.
Apart from the lead actor, Robert Downey Jr., there were no other well-known actors in the entire film; it was populated by newcomers or lesser-known veteran actors.
The most famous individual, aside from the lead, was likely Stan Lee, who made a cameo appearance. Expecting this film to attract reporters based on its cast was an exercise in futility.
Upon careful consideration, the most significant aspect of the event was perhaps the choice of Grauman's Chinese Theatre, America's most renowned and expensive venue, often used for Academy Award ceremonies, to host the film's premiere.
Indeed, America's most famous cinema is called Grauman's Chinese Theatre, and that is its actual name.
Of course, the premiere ceremony was undoubtedly grand, but ultimately, the film itself would have to speak for its success.
At 10 PM on August 1st, Grauman's Chinese Theatre went completely dark. The cinema screen then illuminated, and the story of Iron Man officially began. A handsome and arrogant middle-aged man appeared, seemingly at a press conference, energetically promoting a new product he had invented.
This product was a weapon, a powerful laser-based weapon, powered by an energy core he had independently invented. It was capable of independent attacks on extremely large energy sources and even firing massive laser beams.
Such a formidable weapon immediately elicited gasps from the reporters. However, soon, a reporter raised a question, asking if he had considered the potential disasters his invention could bring upon the world.
"A weapon is merely a tool; the problem lies with the person wielding the tool, not the weapon itself!" the young man casually replied to the reporter. "I believe the greatest invention in the world is nuclear weapons. Look how powerful nuclear weapons are, yet they have caused no harm. Instead, they have maintained world peace, preventing large-scale wars between major powers!"
"Therefore, my mission is to invent even more powerful weapons and ensure that the entire world possesses the same weapons. This way, the world will actually become safer!"
This statement sounded somewhat absurd, yet it seemed to carry a great deal of logic. It left the questioner sputtering with anger but captivated the flashbulbs of countless reporters. Under the glare of these flashes, the young man appeared incredibly dazzling and imperious.
Then, the scene shifted. The young man traveled to Afghanistan to test his new weapon. However, no matter how arrogant he was in front of reporters, he was just as vulnerable before armed militants.
A single missile strike turned the entire convoy into ruins. Although the young man miraculously survived, he became a captive. Had he not possessed such a high status, he would likely have been killed by the militants on the spot.
Later, he was imprisoned in a military industrial base run by the militants, where he was forced to produce various weapons for them. During this time, he also experienced firsthand the suffering caused by war.
Thus, he transformed from a fervent enthusiast of war and weapons into a pacifist.
Subsequently, to treat his injuries, he implanted the energy core he had developed into his chest and constructed a crude, makeshift suit of armor.
And so, Iron Man was born.