Opening in 1937 with the Japanese occupation of
China, Huang Shi follows Hogg (played with bristling energy by The Tudors star Jonathan Rhys
Meyers) as he cockily infiltrates a dangerous contested area, eager to scoop
his competition. When he witnesses a mass execution of Chinese
civilians—part of the Rape Of Nanking—he finally realizes his
danger, and he attempts to get his precious photos of the massacre to safety
and expose the events to the world. Briefly, the film seems like it's heading
in a Beyond Rangoon direction, with a single scared, trapped white guy providing
a POV for thousands of faceless non-white victims in a war zone. But where a
fictional film would have focused on Hogg's triumphant delivery of the telltale
pictures, the real-life story gets completely sidetracked as an Australian
nurse (Radha Mitchell) orders him to hole up in a rural orphanage. From there,
the film jumps forward in vast leaps—months, then years, zip by as Hogg
forgets the massacre and his escape in order to focus on the orphanage's day-to-day
struggles.
The sudden switch from national problems to
small but intense local ones isn't always satisfying, but it seems briefly,
touchingly true-to-life. Still, it's odd that the film spends so much time
focusing on Hogg's relationships with Mitchell, a sympathetic local merchant
(Michelle Yeoh), and a West Point-educated Chinese guerrilla leader (Chow
Yun-Fat), and so little on Hogg himself, and why he repeatedly radically
altered his life's goals. The film's complete failure to get into his head makes
his actions seem more insane than inspired, especially when he decides to take
his kids on a 700-mile foot-trek to hoped-for safety. Huang Shi skims past most of that
journey, which should rightly be the film's centerpiece, and by the end, the
events that aren't covered seem more significant than those that are. It's a
polished, beautifully shot story, and it acknowledges the messiness of real
life. But like real life, it's often baffling and frustrating.
