Film Name: 犹太女孩在上海2：项链密码 / A Jewish Girl in Shanghai: The Mystery of The Necklace
Undoubtedly, this film stands out as highly unconventional in today’s Chinese animation market, from its subject matter to its narrative. It is not a flawless gemstone, yet unlike many other outwardly beautiful stones, it avoids appearing superficial and hollow. It encompasses the harsh realities of war and human nature while featuring two angelic Jewish children as protagonists—a boy and a girl—who bring a bright, uplifting touch to this otherwise bleak reality.
The film exudes a subtly haunting atmosphere. Its visuals carry a gauzy softness, and compared to the first installment five years ago, this sequel further tones down vibrant colors. Even the golden hue of the puppy Wangcai has vanished. Shanghai, from its streets to the clothing of its people, eschews primary hues like red, yellow, and blue, instead embracing a palette of grays that fosters a melancholic viewing experience. Sometimes, a film’s lasting impression isn’t determined by its intensity of conflict or the brilliance of its visual spectacle, but by the emotional resonance it evokes.
After watching this film, the first thing I did upon returning home was catch up on the original film from five years ago. I was eager to know what had transpired in the previous story. Perhaps this is the simplest measure of a film’s “success.” Because this girl, along with her innocent younger brother, intersects with many Chinese lives against the harrowing backdrop of World War II. The story itself is deeply compelling.
The sequel involves more characters, a more complex plot, and ultimately more intense combat. It’s hard to imagine an animated film not only depicting a spy-thriller sequence but also extensively featuring Jews, Chinese, Germans, Japanese, civilians, soldiers, priests, good people within enemy ranks, and misunderstood heroes among the good guys—even pets like dogs and parrots. It’s equally hard to envision an animated film employing flashbacks and flash-forwards, interweaving dreams with reality, and spanning both Europe and China.
Yet its most significant departure from Hollywood blockbusters lies in its characters: despite their realism, none undergo character arcs. From beginning to end, each retains nearly identical personalities and values. This isn’t a story about human transformation, but rather an aesthetically rendered account of objective history. This aesthetic beauty primarily manifests in the two protagonists’ unparalleled purity and the countless acts of kindness in the world that stem from it. The emotions conveyed transcend critiques of war’s justice or evil, instead returning to a tender celebration of cherished things like family bonds and friendship.
This subtle sense of beauty, blended with the earlier faint melancholy, creates an experience that neither stirs intense emotion nor provokes tears, ecstasy, or sorrow. Unconsciously, the viewer passes through ninety minutes. Perhaps this feeling—one that might be called transcendence—is something domestic animation has never before offered its audience.
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