Aurora and Emma are mother and daughter who march to different drummers. Beginning with Emma's marriage, Aurora shows how difficult and loving she can be. The movie covers several years of ... See full summary »
James L. Brooks
A dramatic history of Pu Yi, the last of the Emperors of China, from his lofty birth and brief reign in the Forbidden City, the object of worship by half a billion people; through his abdication, his decline and dissolute lifestyle; his exploitation by the invading Japanese, and finally to his obscure existence as just another peasant worker in the People's Republic. Written by
Martin H. Booda <email@example.com>
This is the first MPAA-rated PG-13 film to win the Academy Award for "Best Picture" (not counting subsequent films that have since been re-rated). See more »
In the Director's Cut of the film there is a scene, just before the Emperor Henry Pu-yi cuts his hair, in which the consorts are dancing to a song being played on a violin. While this scene takes place some time before 1924, the song is "Ol' Man River" from the musical "Showboat", first performed in 1927. See more »
The last Emperor of China, Pu Yi, we now understand, was never anything more than a puppet. He wielded absolute power within his real realm -- a gilded cage of a palace -- but could never shape events except for tragedy to himself or to others.
We see his life as one unlikely person, the one person that one would have most expect to have been insulated, in a gigantic tragedy -- that of China between the chaotic beginning of what might have been a long reign and the destructive Cultural Revolution of Mao, with coups, warlord rule, World War II, and the Marxist Revolution culminating in the rise of Mao. One recognizes that the pathologies of imperial China never truly died, but merely took new forms in the cult of the Leader. That the scenery is beautiful and hedonism among elites is rife hardly conceals the fact that China was a political Hell.
Pu Yi, once the Emperor of the great (but decrepit) Chinese Empire, becomes Emperor of the Forbidden Palace in 1912 before he is expelled in one of many violent revolutions (this one in 1925) in China. We see him doing a few things right, like reforming the Palace bureaucracy from a den of thieves into something honorable. He gets a superb adviser in Reginald Johnston, who gave him the confidence to be a political figure -- even a good one -- in the happiest time of his life. Johnston leaves as Pu Yi is expelled from the Palace, and eventually falls under the spell of the Japanese, who rip Manchuria from China and find someone willing to rule it in an enlightened manner -- himself. The Prime Minister of his choosing is killed, and Pu Yi becomes a puppet ruler of a contemptible entity. It's just like the old days, only the intriguers are worse -- far worse. The decrepitude of the system sets in at the first moment. As Emperor he can only accede to what his Japanese overlords demand.
At the end of the war he is arrested by the Soviets because he dallies too long on unfinished business -- and after the 1949 Revolution he is sent back to China as a war criminal and traitor. Rather than being executed (as one might expect) he is sent to prison as a convict.
As a prisoner he is incarcerated with some of his former underlings -- war criminals of the Manchukuo puppet state -- who have learned to ape the ideology of their captors, and he runs afoul of those 'fellow' inmates. Ex-fascists make the most fervent communists. All in all, he simplifies and becomes a very ordinary man in a society that punished anyone who challenged anything that the regime didn't want people to challenge.
Pure puppet? Not quite. A dupe who never left when the going was good -- if the going was ever good -- and that is exactly what the Imperial role made him. In childhood the ruler of the greatest empire (in population size, that is) on Earth -- in a premature old age, a cipher. Then again, what else did most Chinese ever become in China during the first two thirds of the 20th century become -- ciphers, old before their time, wrecks of no fault of their own, just to survive.
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