It all sounds so grand.  Inspired by true events, THE CHILDREN OF HUANG SHI traces the courage of two Caucasians, English journalist George Hogg (Jonathan Rhys Meyers) and Australian nurse on horseback, Lee (Rhada Mitchell) who together lead 60 or so orphaned boys through a perilous journey through mountains and snow to safety during the Japanese war with China. 

Unfortunately, director Roger Spottiswoode’s film (he did direct one James Bond film, TOMORROW NEVER DIES and the equally emotionless SHAKE HANDS WITH THE DEVIL) is a prime example of another overdone story of white people doing good in a foreign land.  To be fair to him, a good amount of time is allotted to Chinese partisan group fighter, Chen (Chow Yun-Fat from CROUCHING TIGER, HIDDEN DRAGON) and blackmarketeer, Madame Wong (Michelle Yeoh).  But their roles mainly underline the purpose of the Caucasian do-gooders.

The actors are all wrong for the part, helped less by their perfect make up in a film supposed to be set in war-torn starvation times.  Did the make-up people travel through the long walk as well to provide Mitchell, Michelle Yeoh and Meyers with perfect hair and make-up?  Meyers is mores suited for glam like VELVET GOLDMINE than as a self sacrificing missionary type role.  Even Chow Yun-Fat looks the best he has ever been in a movie.

Continuity is nonexistent.  Lee’s opium addiction is left hanging.  The sudden romance between Lee and George is as awkward as their 2-second love making scene.

The setting in 30’s China during China’s civil war and the Japanese occupation is well handled by the production department.  The bombing segments are impressive with the sense of urgency portrayed on screen.

Despite the historical topic, Spottiswoode’s film grows terribly tiresome really quickly.  Only thing missing seems to be the “This Old Man” song Ingrid Bergman sang from THE INN OF THE SIXTH HAPPINESS.  Surprising that Meyes did not teach the orphans to sing it while farming the crops.

The only decent piece is at the end credits where the real Chinese orphans (traced by the filmmakers) testify to the work of Hogg.  Like SHAKE HANDS WITH THE DEVIL, this film would be more credible as a documentary than as a dramatization.