Storytelling is the heart of cinema. Fine acting and beautiful images can only go so far if the tale is not told well. And this is Children Of The Silk Road’s problem – it takes an extraordinary true story and mangles its telling.
It’s 1938 and Jonathan Rhys Meyers (Match Point, Mission: Impossible III) is British journalist George Hogg. The Sino-Japanese War is raging and World War II is just around the corner. Hogg sneaks from Shanghai into Japanese-occupied Nanjing in search of a story lead. Carrying a small typewriter, Hogg takes refuge in a ruined building where he witnesses scores of Chinese civilians being slaughtered by Japanese soldiers. Terrified, Hogg manages to photograph the massacre, but he’s soon captured by the Japanese. After being rescued, Hogg is spirited away to a neglected orphanage where he finds only one adult, an elderly cook, caring for the boys. Impatient for action, he attempts to leave but ultimately remains, playing the role of teacher – and later potential saviour – when the children’s lives are threatened.
Shot in China, the filmmakers capitalise on the wonderful scenery, but despite the location and the fact that this isn’t a US production, it has the unfortunate ambience of generic Hollywood, largely thanks to Tomorrow Never Dies director Roger Spottiswoode’s fairly heavy hand. The first official treaty Chinese-Australian co-production, Children Of The Silk Road is a flawed but ultimately inspiring work. For all its problems and missed opportunities, it successfully – and shamelessly – tugs at the heartstrings. The final credits include recent interviews with the actual orphans, who are now in their 80s. It’s been done before, but it’s still an effective way to close the film – order some tissues along with the popcorn.
Despite beautiful scenery and excellent performances, Children Of The Silk Road has the distinct ring of Hollywood artifice about it, which serves to undermine the film’s many strengths.
Filmink 3/5
