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>
Bernardo Bertolucci proposed the film to the Chinese government as one of two possible projects - the other was "La Condition Humaine" by André Malraux. The Chinese preferred this project, and made no restrictions on the content. See more »
In the Director's Cut, just before Pu Yi cuts his hair in 1924, the consorts are dancing to a violin playing "Ol' Man River" from the musical "Showboat", first performed in 1927. See more »
Reginald Fleming 'R.J.' Johnston:
The Emperor has been a prisoner in his own palace since the day that he was crowned, and has remained a prisoner since he abdicated. But now he's growing up, he may wonder why he's the only person in China who may not walk out of his own front door. I think the Emperor is the loneliest boy on Earth.
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An Oriental paradise that is wonderfully mastered to the screen.
I guess I'm the only one who watched this from a worn out-of-print VHS copy. No matter what the quality, THE LAST EMPEROR is arguably among the best of the foreign pictures. The sights and sounds of The Forbidden City are sharp and beautifully screened right on with the provocative events that unfold the coming-of-age life of Pu Yi. It has plentiful moments including his romantic affairs with concubines and how he learns the way of the world as a child. His chronicle of a young emperor boy paints a colorful picture for the first half, only leading to more conflicting matters later, which is the most exciting part. Don't expect to see heads getting chopped off, like I thought would happen (unless you have the longer DVD version), but the intensity of the talk surrounding it sounds horrifying and true. Nevertheless, the dialogue is clearly mystical. Every minute is a feel-good breeze through crafty cinematic art, but it ends too fast, and the narration from Pu Yi in his prison term could use a lot more detailing. Maybe I'll stick around longer and wait to see the Director's Cut which has more. Definitely a winning treat not to be missed for foreign movie lovers and collectors of premium filmfare.
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