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The Last Emperor
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The Last Emperor is the true story of Aisin-Gioro Pu Yi, the last ruler of the Chinese Ching Dynasty. Told in flashback, the film covers the years 1908 to 1967. We first see the three-year-old Pu Yi being installed in the Forbidden City by ruthless, dying dowager Empress Tzu-Hsui (Lisa Lu). Though he'd prefer to lark about like other boys, the infant emperor is cossetted and cajoled into accepting the responsibilities and privileges of his office. In 1912, the young emperor (Tijer Tsou) forced to abdicate when China is declared a republic, is a prisoner in his own palace, "protected" from the outside world. Fascinated by the worldliness of his Scottish tutor (Peter O'Toole), Pu Yi plots an escape from his cocoon by means of marriage. He selects Manchu descendant Wan Jung (Joan Chen), who likewise is anxious to experience the 20th century rather than be locked into the past by tradition. Played as an adult by John Lone, Pu Yi puts into effect several social reforms, and also clears the palace of the corrupt eunuchs who've been shielding him from life. In 1924, an invading warlord expels the denizens of the Forbidden City, allowing Pu Yi to "westernize" himself by embracing popular music and the latest dances as a guest of the Japanese Concession in Tientsin. Six years later, his power all but gone, Pu Yi escapes to Manchuria, where he unwittingly becomes a political pawn for the now-militant Japanese government. Humiliating his faithful wife, Pu Yi falls into bad romantic company, carrying on affairs with a variety of parasitic females. During World War II, the Japanese force Pu Yi to sign a series of documents which endorse their despotic military activities. At war's end, the emperor is taken prisoner by the Russians; while incarcerated, he is forced to fend for himself without servants at his beck and call for the first time. He is finally released in 1959 and displayed publicly as proof of the efficacy of Communist re-education. We last see him in 1967, the year of his death; now employed by the State as a gardener, Pu Yi makes one last visit to the Forbidden City...as a tourist. Bernardo Bertolucci's first film after a six-year self-imposed exile, The Last Emperor was released in two separate versions: the 160-minute theatrical release, and a 4-hour TV miniseries. Lensed on location, the film won nine Academy Awards, including Best Picture and Best Director. ~ Hal Erickson, All Movie Guide
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"My primary issue with THE LAST EMPEROR, Bernardo Bertolucci's 1987 Oscar-winning epic and also last night's Reel 13 Classic, is one of clarity. It's a delicate balance because while one never wants to beat its audience over the head with information, one also needs to make sure the audience understands the action and the characters' motivations. I remember thinking early in the film that the scene with the empress dowager was overly expositional as she, minutes away from h " [More]
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Review by All Movie Guide
All Movie Guide
loved it.
In this unprecedented Sino-Western co-production, Bernardo Bertolucci turned the strange life of final Chinese crown ruler Pu Yi into a sumptuous epic. Shooting on location in China in the first Western production allowed to film in Beijing's Forbidden City, Bertolucci spent $25 million on lavish sets and costumes, as well as a cast of thousands, for a story spanning six decades, from Pu Yi's 1908 coronation to his 1960s life as a poor civilian. The story is structured through flashback memories as Pu Yi comes to grips with existence as a villain and commoner under Communism, and Vittorio Storaro's exquisite cinematography subtly underscores the emperor's rise and fall by shifting from a palette rich in reds, oranges, and yellows for Pu Yi's imperial years to somber blues and grays for his exile and imprisonment. Despite critical complaints that the story was lacking in emotional involvement, many viewers agreed that Bertolucci had created another visual marvel. Nominated for nine Oscars, The Last Emperor scored an unexpected sweep, winning all nine, including Best Picture and Best Director. An hour of footage cut from the release version was restored in the 1998 theatrical reissue reedited by Bertolucci. ~ Lucia Bozzola, All Movie Guide
 

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