The Last Emperor (1987)
★★★ / ★★★★
“The Last Emperor” told the true story of the last ruler of China from 1908 to 1967. Emperor Aisin-Gioro Pu Yi (John Lone as the adult Pu Yi) was crowned when he was three years old. He was a ruler who was both powerful and powerless; powerful inside the Forbidden City but just another person outside its walls which had turned into a republic. Inside the city, the child was treated like royalty but wasn’t really taught how to rule properly especially when the adults inside the city knew that times were rapidly changing. I found the film a bit sad because even though the emperor had so much power, I felt like he was used as a tool so that others could hold onto their past. I’ve seen a number of Bernardo Bertolucci’s films but “The Last Emperor” was arguably the most visually stunning. I admired the way he used color to compare and contrast the past and the present. The past was colorful which was full of innocence where the emperor was relatively happy because his future was bright. The present looked dull, the color gray was everywhere because the former emperor was now considered as a war criminal. His future looked grim because he even though he desperately wanted to rule, he couldn’t because ancient practices did not seem to fit into modern times. The story was tragic because what Pu Yi believed to be his purpose did not necessarily reflect what was expected of him outside of the Forbidden City. Bertolucci then had a chance to explore China’s westernization and its role in World War II. As the picture went on, the ideas became bigger and the execution turned more elegant. I especially liked Pu Yi’s varying relationship between his two wives (Joan Chen, Vivian Wu) and one of the wives’ relationship with another woman who hated China and admired everything Japanese. An interesting observation involved Chinese people betraying each other was more painful than Japanese’s treatment of the Chinese. The issue of blood and loyalty also had a place in the story. However, “The Last Emperor” had one important weakness: Its ambition was a double-edged sword. While the story became grander the further we explored the rapidly changing times, the attention to important characters diminished. Perhaps it was on purpose because Bertolucci wanted to imply that, over time, Pu Yi was slowly being forgotten by his people. I understood that such a technique might have been on purpose but at the same time I found it unsettling because the film was supposed to be about Pu Yi’s personal journey. Nevertheless, “The Last Emperor” is worth watching. It had a critical eye and respect toward the Chinese culture without sacrificing historical accuracy. This was also one of the very few films actually shot inside the Forbidden City.