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Everything that was good about the 163-minute theatrical release of Bernardo Bertolucci's
The Last Emperor in 1987 is even better in this new 218-minute director's cut. By contrast, much that was peculiarly distant and lifeless the first time around isn't really better or worse in this edition. Conclusion: the net gains are considerable if you invest time to appreciate Bertolucci's full feeling for the odd story of Pu Yi, China's final monarch. You remember the saga: taken from his mother at the age of three, Pu Yi is brought into the enclosed walls of the Forbidden City to replace the real emperor. There he becomes a pampered prisoner and hollow symbol of an older monarchy that has since given way to a ruthless, 20th century republic. With his pining loyalists beheaded or kept at bay by armed soldiers outside the City's walls, Pu Yi is tutored by an English gentleman (Peter O'Toole) and wed to a kindred spirit (Joan Chen). Eventually cast from his gated paradise, Pu Yi (wonderfully portrayed in adulthood by John Lone) becomes, by turns, a playboy, a dupe to the Japanese, and a victim of China's cultural reforms and re-education programs. This longer cut largely top-loads the film with greater reason to feel compassion for the emperor, with his often wordless sense-adventure in the mysteries that could only be known to one little boy plunged into indecipherable alien decorum, robbed of self-determination and common sense by his infinite privilege. Added scenes (including some in the political rehabilitation camp where Pu Yi is held for a decade) fill out not so much added facts as density of experience. This improved
The Last Emperor is richer in soul and a pronounced sense of Bertolucci actually directing this film in the most personal and profound sense.
--Tom Keogh
Product Description
Directed by Bernardo Bertolucci - Starring John Lone, Joan Chen, Peter O'Toole
Live/Artisan - Rated PG13 - 218 min - Biopic [feature] - Region: 1 (USA & territories, Canada)/2 (Europe, Japan, Middle East, Egypt, South Africa, Greenland)/3 (Taiwan, Korea, the Philippines, Indonesia)/4 (Mexico, South America, Australia, New Zealand)/5 (Russia, Eastern Europe, India, most of Africa)/6 (China)
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.
