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THE CHILDREN OF HUANG SHI Send This Review to a Friend
A stirring, dramatic epic sumptuously photographed on location in China, “The Chidlren of Huang Shi” is based on the true story of a British journalist who became the rescuer and guardian of orphaned children during the brutal Japanese invasion of China in the 1930s. With Jonathan Rhys Meyers playing the role of George Hogg and accomplished Roger Spottiswoode as director, the film is charismatically moving with a deeply involving story co-written by James McManus and Jane Hawksley. The reality underlying the fictional treatment is emphasized at the end with comments by several of the now elderly children who were rescued and taken on a long, grueling march to safety by Hogg.
The perilous circumstances are depicted at the outset when Hogg gets into Nanking, famous for the brutalization by the invading Japanese. Hogg sees a mass slaughter that he surreptitiously photographs, is captured and almost executed, but is rescued by a tough Communist resistance leader “Jack” Chen, played winsomely by Chow Yun Fat . Wounded in a harrowing escape, Hogg is aided by an American nurse, Lee Pearson, portrayed with a tough, independent spirit by Radha Mitchell. She recommends that Hogg be taken to Huang Shi to recuperate. There, Hogg finds that 60 boys are living in an old schoolhouse.
There is tension as Hogg is looked upon suspiciously by the self-appointed leader of the group, Shi-Kai, played sneeringly by Guang Li. Hogg can’t wait to break away and continue on his mission to cover the war, but Pearson persuades him to help with the children, and his humanitarian instincts get the better of him. The story develops from there as Hogg becomes increasingly involved and dedicated and gets help for the boys with supplies from the fascinating Madame Wang (Michelle Yeoh), a local wheeler-dealer. But with the advancing Japanese, it becomes necessary to take the boys to safety.
And so begins the long trek over the Gobi Desert, an arduous, dangerous journey depicted with breathtaking on-location cinematography by Zhao Xiaoding. There is a subdued romantic element woven into the story. Pearson and Chen once had a relationship and Pearson has some demons of her own to combat. An attraction slowly grows between Pearson and Hogg. But it is a tribute to the sensibility and sensitively of the writers and director that the romance doesn’t become central and isn’t pushed too hard. By the time it comes to fruition, I was wondering what took them so long to finally make love after all of that desert opportunity. That speaks well for the integrity of the film. The rescue operation under dire circumstances and the portrait we get of the affection developing with the youngsters are the guts of the film. Nothing is done to turn that into background for romance as might of happened in less astute hands.
The epic has its tragic side, as we learn. This is a grandly told saga, rich in atmosphere and deep in emotional involvement. It is one of those film accomplishments that enrich cinema, the sort with the potential of impressing filmgoers who appreciate a good humanitarian tale against a broad background of war, challenge and sacrifice as opposed to so much of the junk film prevalent today.
Spottiswoode has major films to his credit, such as “Shake Hands with the Devil,” “Ripley Under Ground,” “Tomorrow Never Dies,” “The Best of Times” and “Under Fire,” the latter a sizzling film about what was happening in Nicaragua in the 1980s. He has outdone himself here with a memorable, meaningful work. A Sony Pictures Classics release.
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