Wartime flick ‘Our Time Will Come’ tends to alienate most audiences
THE WORLD War II movie Our Time Will Come dramatises the resistance efforts of Leftist guerillas in Hong Kong during the Japanese occupation from 1941-’44.
But director Ann Hui’s interpretation of that era will alienate most audiences today.
Although cut from the same cloth as umpteen patriotic film and TV dramas spoon-fed to mainland audiences since 1949, in Ann Hui’s hands, the tone feels curiously subdued and laidback, with little bombast or even excitement.
Although it’s competently narrated and boasts fine acting from the leads (who nonetheless look nothing like locals), it’s hard to see how this serious period drama could connect with the popular tastes of either Hong Kong or mainland audiences.
This is Hui’s third film set during the Sino-Japanese War, the others being Love in a Fallen City (1984) and The Golden Era (2014). All three movies portray independent-minded heroines fighting to assert themselves in such a tumultuous environment, but whereas the two earlier films were dominated by romantic storylines, here, the female protagonist operates within a community of kindred spirits, making personal fulfilment a secondary concern.
In 1941, after the Japanese Imperial Army occupied Hong Kong, the CCP draws up a plan to ferry nearly a hundred Leftist intellectuals, artists and film veterans to safety, the most famous of whom is writer Mao Tun (Guo Tao), who is lodging at the Wanchai home of Mrs Fong (Deanie Ip) and her teacher daughter Lan (Zhou Xun).
When something goes wrong on the day of Mao’s departure, Lan, who’s a big fan of his writing, impulsively assists local guerrillas on the rescue mission. Impressed by Lan’s composure, their captain Blackie (Eddie Peng) recruits her to join the urban unit to liaise with members hiding in outlying fishing communities and “walled villages” inhabited by indigenous Hakka.
Whether a directorial decision or one born out of budget constraints, instead of gearing up as a full-blown war epic or taut spy thriller, the narrative strikes a more relaxed pace that de-glamorises the underground resistance. Lan and her comrades’ role is basically that of a courier delivery service.
Blackie, who is based on a legendary real-life sharpshooter, dispatches Japanese soldiers and Chinese traitors with nononsense efficiency that’s the antithesis of Hong Kong-style bullet ballet. Even Lan’s fiancé Gam-wing (Wallace Huo), a double agent working in the Japanese army’s headquarters, is mostly seen leisurely discussing Song dynasty poetry with Japanese colonel Yamaguchi (Masatoshi Nagase).
The most absorbing drama stems from the affectionate relationship Lan has with her mother, who doesn’t take long to figure out what her daughter’s up to.
Though she’s fully aware of the danger involved, Mrs Fong doesn’t oppose her, but instead tries to ease her load in ways that have dire consequences.
By highlighting the value of artists and intellectuals, and the importance of protecting them, Hui imbues the authentic historical episode with timely universal relevance.
Zhou has played similar roles in WWII spy-thrillers The Message and The Silent War. but this is her most natural performance.