The Last Emperor (1987)

Introduction

Bernardo Bertolucci’s The Last Emperor is a sweeping cinematic epic that chronicles the extraordinary life of Puyi, the final emperor of China. Released in 1987, the film is both an intimate character study and a vast historical fresco, capturing not just the rise and fall of a man, but the death throes of a centuries-old empire and the birth of modern China. Winner of nine Academy Awards—including Best Picture and Best Director—The Last Emperor remains a towering achievement in historical filmmaking.

Plot Overview

The film begins in 1950 with the capture of Puyi (John Lone), the former emperor of China, by Soviet forces, who deliver him to the newly established People's Republic of China. He is imprisoned in a re-education camp, where he begins to reflect on his life.

From there, the film unfolds through a series of flashbacks: Puyi’s sudden ascension to the throne at the age of three; his isolated and ceremonial life within the Forbidden City; his forced abdication following the Xinhai Revolution; his western education under the tutelage of Reginald Johnston (Peter O’Toole); and his brief reign as the puppet emperor of Japanese-occupied Manchukuo.

As Puyi transitions from imperial deity to powerless figurehead to ordinary citizen, the film traces the disintegration of traditional China and the complex intersections of power, identity, and modernity.

Themes and Analysis

The Illusion of Power

At its core, The Last Emperor is a meditation on the illusion and fragility of power. Puyi is declared "Son of Heaven," but even as a child, his authority is ceremonial and constrained. Inside the Forbidden City, he is worshipped but imprisoned. Outside, the world changes rapidly, rendering his title obsolete.

This contradiction—being emperor without an empire—is central to Puyi's tragedy. Bertolucci doesn’t depict him as a tyrant or a hero but as a man shaped and broken by forces beyond his control. His journey from monarch to war criminal to anonymous gardener underscores the collapse of dynastic rule and the shift toward a new, ideologically charged China.

East and West: Cultural Conflict and Influence

Puyi’s life is also a symbol of cultural collision. His British tutor, Reginald Johnston, exposes him to Western ideas and customs. While Johnston seeks to modernize his pupil, the attempt is ultimately futile against the entrenched rituals of court life and the volatile politics of the 20th century. The film does not glamorize Westernization but rather presents it as one of many conflicting forces—alongside nationalism, colonialism, and communism—that shaped Puyi’s identity.

Memory and Redemption

Framed by Puyi’s imprisonment and re-education, the film uses memory as a vehicle for redemption. It’s in prison, through self-reflection and forced humility, that Puyi becomes fully human. His attempt to reintegrate into society, and particularly the small but poignant moment of revisiting the Forbidden City as a commoner, adds emotional weight to the film's conclusion.

Performances

John Lone delivers a performance of remarkable depth and subtlety as Puyi. He effortlessly spans the emperor’s life stages—from youthful arrogance and confusion to middle-aged disillusionment and quiet dignity. Lone’s ability to humanise such an enigmatic figure is the film’s emotional cornerstone.

Peter O’Toole, as Johnston, is a commanding presence. His portrayal is layered with empathy, wit, and cultural sensitivity—he’s both mentor and symbol of an empire in decline.

Joan Chen is heartbreaking as Wanrong, Puyi’s empress. Her descent into opium addiction mirrors the collapse of the imperial world and offers a devastating look at how individuals—especially women—were consumed by the demands of power and tradition.

Cinematography and Production Design

Shot by Vittorio Storaro, the cinematography is nothing short of spectacular. The use of colour, light, and composition creates a visual language that complements the emotional and political content of the story. The early scenes in the Forbidden City glow with gold and red hues, symbolizing opulence and isolation. Later scenes become bleaker, colder, more austere—mirroring Puyi’s loss of control and identity.

The film famously gained unprecedented access to shoot inside the Forbidden City itself, and the authenticity it brings to the screen is breath taking. From the grandeur of imperial courts to the sterile confines of a Communist prison, every setting is rich with historical texture.

Score and Sound Design

Ryuichi Sakamoto, David Byrne, and Cong Su collaborated on the film’s hauntingly beautiful score, blending traditional Chinese motifs with modern orchestration. The music enhances the film’s emotional tone without overwhelming it, serving as both a reflection of internal conflict and an echo of history’s vast, impersonal forces.

Direction and Pacing

Bernardo Bertolucci’s direction is masterful. He guides the audience through decades of tumultuous history with poetic restraint and narrative clarity. The film’s deliberate pacing mirrors the long arc of Puyi’s transformation, requiring patience but rewarding viewers with depth and resonance.

While some critics have noted the film’s length and occasional emotional distance, these qualities also reflect the tragic grandeur of the subject matter. Rather than sensationalize, Bertolucci invites contemplation.

Historical Accuracy and Criticism

The Last Emperor takes creative liberties but largely adheres to historical events. The portrayal of Puyi is based on his autobiography, though some scenes—especially those in Manchukuo—are dramatized for effect. Some critics have debated the film’s portrayal of Communist China as ultimately redemptive, but Bertolucci maintains an even-handed approach, showing both oppression and the possibility of personal growth.

Cultural and Cinematic Legacy

The Last Emperor was ground breaking—not just for its technical and narrative ambition, but also for being the first Western production allowed to film inside the Forbidden City. It brought Chinese history to an international audience in a way that was accessible yet profound, personal yet epic.

Its Oscar sweep (including Best Picture, Best Director, Best Cinematography, and Best Original Score) underscores the film’s global acclaim. More than three decades later, it continues to be a benchmark for biographical and historical filmmaking.

Final Thoughts

The Last Emperor is a richly layered, visually arresting, and deeply affecting film that transforms the biography of a single man into an allegory for a nation in flux. It’s not just a portrait of China’s last emperor—it’s a meditation on the burden of legacy, the nature of power, and the possibility of personal reinvention.

In a time when historical dramas often struggle to balance grandeur with humanity, The Last Emperor stands as a majestic, haunting, and unforgettable achievement in world cinema.