The gamecock. (Columbia, S.C.) 1908-2006, February 08, 1988, Page 5, Image 5
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*Last Emperor
wisdom to beet
By ANDY BECHTEL j
Copy desk thief j
A film that is much more than a pretty picture. The I
Last Emperor is a spellbinding epic that serves as a testa- v
ment to one man's pride.
It's also a great lesson in 20th-century Chinese history. i
Directed by Bernardo Bertolucci, The Last Emperor
tells the tragic talc of Pu Yi (played as an adult by John
Lone), China's final ruling emperor. Bertolucci filmed
much of the film at the Forbidden City, providing the <
West with its first intimate glimpse of that country's im- I
pressive royal complex.
Beginning his reign as a toddler, the emperor soon I
realizes the power of his position, only to be disillusioned
by his discovery that his influence doesn't extend beyond
the walls of his palace. A revolution has left China with a i
republic, and the emperor has no real power.
One of Bertolucci's main themes in The Last Emperor
is the irony that Yi is indeed the emperor, but he cannot
leave his own stronghold. The days of dynasties arc over, i
but the emperor's pride refuses to allow him to accept this i
fact.
A British teacher named Johnston (Peter O'Toole) attempts
to pound some humility into the emperor's head,
but his efforts are to no avail. Yi can't see what's around
him because his pride overwhelms him. Still, the emperor
grows to like Johnston because he challenges him, albeit
with all-due respect.
Bcrtolucci carries this idea on into the film, when I he
imperialistic Japanese set up Manchuko, a puppet state in
Jfca ? AAl^aprv Send your message
f\I A^v:|E?|E(j Personals Valentine's S
ULnOOiriUl/ Come by The Gamecock
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| Today's date
10 Words
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Film Review
Manchuria, and offer to lei Vi rule. Although it is obvious
to all around him that the Japanese simply want a "yes
man" in Manchuko, the emperor allows pride to blind
him again as lie accepts.
Bertolucci avoids the deadly traps that a historical epic
jf this type often carries with it. His strategy of using
flashbacks may not be original, but it works well. Ihe
film does have its slow stretches, but these are few and tai
between and don't damage the overall impact.
Bertolucci's seemingly effortless cinematography
sweeps along landscapes and interiors alike, but never
does he resort to spectacle for spectacle's sake, as Steven
Spielberg did with Umpire of the Sun, his recent exercise
in excess.
The acting throughout The Lust Lmneror is sunorb. As
ihc tragic title character, Lone is simply outstanding. He
manages to evoke sympathy tor a somewhat pathetic
figure, which is no easy task tor any actor. And O'Toole
is also excellent as the prim and proper British tutor.
The film also serves as a primer for recent Chinese
history, as Bertolucci uses his main character to chronicle
the changes in China from a dynastic to a communist
state.
The l.ust Emperor has already won four Golden Globe
film awards, and ? if there is anv iustice in the world ? n
will also win its much-dcscrved share of Academy Awards.
Advertising Department
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