As the dialogue between Amerigo and Don Vito unfolded on screen, I noticed the entire theater had fallen into a hushed silence. The audience was captivated.
I couldn't help but smirk inwardly. Sure, I could hear some murmurs about the colored film, but it was clear that the interest went beyond just the technical achievement. The opening dialogues itself had piqued their curiosity.
This was a good sign. A very good sign. If the audience was this engaged, there was a real chance that The Demonfather could turn a profit. Even better, we might catch the eye of some film distributors willing to take a chance on us.
After all, isn't that what this festival is really about? It's a chance for indie filmmakers like us to grab the attention of distributors who might be willing to take our film to a wider audience.
As these thoughts raced through my mind, I forced myself to relax. It was time to sit back and enjoy the fruits of our labor. We'd poured our hearts and souls into this film, and now it was time to let it speak for itself.
I settled into my seat, confident that everything would fall into place. Whatever happened next, we'd already achieved something remarkable. We'd made a film that had a theater full of skeptics sitting in rapt attention. Not bad for a bunch of demon misfits and one exiled prince.
***
(Human??? POV)
Well, isn't this a turn of events? Interesting... and if I'm being honest, a tad infuriating. It was supposed to be another routine assignment - watch some subpar demon films, write a scathing review, and give our readers back home a good laugh.
But this? A colored film? In a demon city, of all places? It's like expecting to find coal and stumbling upon a diamond.
Let's be clear - demons aren't exactly known for their cinematic prowess.
Compared to the dwarves' technical marvels or the elves' artistic masterpieces from their verdant cities, demon films have always been the punchline of industry jokes.
Back in Angels City, eyebrows were raised when we critics announced our attendance. "Why bother?" they asked. But we knew the game. We came for one simple, deliciously cynical reason: everyone loves a good failure story, especially when it's about demons.
It's a tried-and-true formula. We cover their fumbling attempts at art, their technological mishaps, their societal quirks. Our readers eat it up, reveling in the sense of superiority it provides. It's not pretty, but it sells papers and keeps the clicks coming.
After all, demons, bless their little horned heads, are a gold mine of flaws and struggles. In a world where every other race seems to be sprinting ahead, they're the ones tripping over their own tails. It makes for great copy.
So here we were, pens sharpened and ready to eviscerate another year of demon "cinema." My fellow humans back home were salivating for tales of cinematic disasters.
But then... this year's demon festival is certainly exceptional.
"Pure Succubus" wasn't half bad. Unusual, I thought. A fluke, surely.
And now this. In the grand Crimson Theatre, we're witnessing not just a passable film, but a technological leap forward. A colored film, for hell's sake!
I hate to admit it, but as the opening scenes unfold, I find myself being pulled into the world of this film.
The soundtrack, the dialogue, the color - it's all working together in a way I never expected from a demon production. A demon coloured film I'd written off as trash before it even began is now commanding my full attention.
There are some confusing elements at first - mentions of "Empirica" and other ambiguous terms. But then comes the narration, clearly the voice of that exiled prince, Arthur. He's trying to sound elegant, but there's no mistaking that youthful timbre.
"This is the story of the rise and fall of a family, who lives in Empirica, a human nation that housed mixed races, demons, dwarves and of course, humans," he begins. "This country was once a human race dominant only nation, it means, only humans is getting the rights while other races wasn't getting any— but later, with the laws passed, races begun to file in, and races are allowed to have their own business, properties, and especially, rights."
It's a clever framing device, providing context for this fictional world. I can see my fellow Empiricans in the audience nodding along, understanding that this is just fiction, much like how we humans have fictionalized demon kingdoms.
The narration continues as the wedding party scene unfolds. Arthur's voice takes on a more ominous tone: "After the races gains their own rights in the nation of Empirica — other races such as dwarves, elves, begun to thrive, yet they couldn't compare to the one race that thrives the most."
There's a pause, laden with anticipation. "The Demon race," Arthur intones.
I feel an involuntary chill at those words. The effect is immediate and powerful, especially as we then see Don Vito Corleone, every inch the powerful demon in an expensive suit, greeting his guests.
"Don Barzini. Welcome," Corleone says, his voice a low rumble.
"Don Corleone," replies Don Barzini, a wolf demon who kisses Vito's ring with a mix of respect and wariness.
As the film progresses, I can't help but notice how the demon characters, particularly Don Corleone and Don Barzini, exude an aura of power and authority that's almost palpable. It's unsettling, to say the least.
Then, unexpectedly, Arthur Morningstar himself appears on screen. The exiled prince, not content with merely directing, has cast himself in his own film.
"Hehe. He appears in his own film? This doesn't bode well for the story," the dwarf beside me remarks loudly.
I find myself nodding in agreement. If Arthur is playing a significant character - and his acting turns out to be subpar - it could derail the entire production.
As the film opening scenes progressed, it becomes clear that Michael is a significant character to the story. This realization sends a ripple of anticipation - and not the good kind - through the audience.
Like the others, I'm half-expecting the film to take a nosedive. Directing is challenging enough, but to act in a major role simultaneously? It's a recipe for disaster. Arthur's split focus could easily compromise both his performance and his direction.
I sigh, feeling a mix of disappointment and... is that relief? If the film turns out to be a flop, it would align with our usual narrative about demon incompetence. It would be easier to write about, more in line with what our readers expect.
Still, a part of me can't help but think - even if it's bad, it's the first colored demon film. That alone will make it a talking point, right?
As the film progresses, I find my initial assumptions being thoroughly upended.
We all thought Arthur's self-importance would lead him to make his character, Michael, the focal point - a vanity project destined to ruin what could have been a promising story. But we couldn't have been more wrong.
Contrary to our expectations, the film doesn't revolve around Michael at all. There's no constant narration from Arthur like earlier, no spotlight-hogging scenes. Instead, we're drawn into the intricate web of a family's story, with Don Corleone at its center.
And speaking of Don Corleone, the scene unfolding before us sends another chill down my spine, more intense than before.
Johnny Fontane, clearly distressed, buries his face in his hands. "I don't know what to do," he laments.
Don Vito's reaction is swift and harsh. He barks at Johnny, slapping him across the face. "Act like a man!"
The Don even mocks Johnny's whining, imitating his "I don't know what to do" in a pitiful voice, while Tom Hagen laughs in the background. It's a display of raw power and contempt that leaves me feeling unsettled.
But it's Don Vito's next words that truly give me goosebumps: "I'm gonna make him an offer he can't refuse."
The way the actor delivers this line... it's chilling in its calm assurance. There's a weight to his words, a promise of action that's both reassuring and terrifying.