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CRITERION

MOVIE INFO
Synopsis:
John Lone stars as Pu Yi, emperor of China, who comes from a long history of a tradition that is irreversibly altered by two world wars and fierce political upheaval. Guided by his English mentor (Peter O'Toole), Pu Yi is forced to leave the lavish, protective walls of his kingdom. Somehow, he has to build a new life in a strange world he has always longed to explore, but has never really known.

Director:
Bernardo Bertolucci
Cast:
John Lone, Joan Chen, Peter O'Toole, Ruocheng Ying, Victor Wong, Dennis Dun
Writing Credits:
Mark Peploe

MPAA:
Not Rated.

Academy Awards:
Won for Best Picture; Best Director; Best Screenplay; Best Art Direction-Set Decoration; Best Cinematography; Best Costume Design; Best Sound; Best Film Editing; Best Original Score-Ryuichi Sakamoto, David Byrne, Cong Su.

DVD DETAILS
Presentation:
Widescreen 2.00:1/16x9
Audio:
English Dolby Stereo 2.0
Subtitles:
English
Closed-captioned
Supplements Subtitles:
None

Runtime:
Theatrical Version: 163 minutes
Television Version: 218 minutes
Price: $59.95
Release Date: 2/26/2008

Bonus:
DVD One:
• Theatrical Version of the Film
• Audio Commentary with Director Bernardo Bertolucci, Producer Jeremy Thomas, Screenwriter Mark Peploe, and Composer/Actor Ryuichi Sakamoto
• Trailer
DVD Two:
• TV Version of the Film
DVD Three:
• “The Italian Traveler, Bernardo Bertolucci” Documentary
• Pre-Production Video Images from China
• “The Chinese Adventure of Bernardo Bertolucci” Documentary
• “Making The Last Emperor” Documentary
DVD Four:
• “The Southbank Show” Documentary
• David Byrne Interview
• “Beyond the Forbidden City” Documentary
• “The Late Show: Face to Face” 1989 Interview


• 96-Page Booklet


PURCHASE DVD
DVD
Score Soundtrack

EQUIPMENT
Sony 36" WEGA KV-36FS12 Monitor; Sony DA333ES Processor/Receiver; Panasonic CV-50 DVD Player using component outputs; Michael Green Revolution Cinema 6i Speakers (all five); Sony SA-WM40 Subwoofer.

RELATED REVIEWS


The Last Emperor: Criterion Collection (1987)

Reviewed by Colin Jacobson (February 29, 2008)

Lots of people - myself included - see movies we might otherwise skip simply because the Academy conferred upon them that mark of Best Picture distinction. I avoided 1987’s The Last Emperor for years because it looked to me to be just another bloated, boring piece of "Oscar bait." Every year in the fall, cinemas are inundated with movies that scream, "I'm important! I'm quality filmmaking! Lavish me with praise!" Most of these pictures turn out to be pretentious crap whose only purpose is to try to win awards. Long, somber, and pompous: such is the mark of the "Oscar bait" picture.

While I didn't find it to be too pretentious or pompous, The Last Emperor definitely was long and somber. Ultimately, my reaction to The Last Emperor was that I didn't have much of a reaction. It bordered on being dull, but the plot offered enough intrigue to keep me going. Part of the problem with the film is that it documents an apparently boring man and focuses on him so strongly that all the exciting events that happen around him are excluded.

That last aspect makes perfect sense from a thematic point of view. Through much of his life, Pu Yi maintained a nominal position of authority but actually he was completely distanced from the reality of the world. According to this film, he wasn't even a witness to history; all these events occurred well out of his view.

As such, that means that the audience also has their view of the world restricted; the movie focusses on the life and times of Pu Yi to the exclusion of all else. Like I said, thematically this makes sense. It forces the audience to better appreciate and understand the contained nature of his life.

Unfortunately, from a cinematic point of view, it slows things down to an extreme. Not a whole lot happens in this movie that we actually witness. Pu Yi's a very passive character who simply reacts to the changes that occur around him. It's not until the conclusion of the movie that we see any actual growth in his character. Most of the time, he remains the same semi-inert figurehead.

I place part of the blame for that last problem on John Lone. He offers a decent portrayal of Pu Yi but I felt that he made the character far too likable. This is a guy who has been told since a very young age that he's virtually the king of the world and has been granted almost literally his every whim. However, he maintains little in the way of nastiness or arrogance as an adult. As Lone plays him, he seems like just your average Joe. I suppose it's probably helpful to have a sympathetic character in the lead, since we have to spend so much time with the guy, but I can't help but question the realism of the portrayal.

Also, to place such a dull character as the focus for a film that approaches four hours strongly tests the patience of the viewer. Yes, I made it through the movie, but it was touch and go for a while there. Many who have seen the film gush about Vittorio Storaro's lush and lavish cinematography, and yes, he helps create a visually stunning picture. For me, however, that's just not enough. While I expect such a long movie to drag at times, I would prefer that it offer a higher level of interest and intrigue than was evident in this flick. Still, even with all its faults, I ultimately liked The Last Emperor, albeit in a lukewarm kind of way.


The DVD Grades: Picture B / Audio B / Bonus A

The Last Emperor appears in an aspect ratio of approximately 2.00:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Note that this alters the film’s original theatrical dimensions of 2.35:1. Why? Apparently because cinematographer Vittorio Storaro still thinks it’s 1988 and that we’re all watching VHS tapes on 20-inch TVs.

As was the case with the DVDs of Apocalypse Now, Storaro insisted on a cropped ratio allegedly because he felt that the normal 2.35:1 dimensions would eliminate too much detail from the image. 20 years ago, that might’ve been an issue, but given the prevalence of large widescreen TVs and the resolution of DVDs, his concerns strike me as outdated. There’s absolutely no reason to modify an aspect ratio in this day and age.

On February 27, 2008, the folks at Criterion posted a note that stressed it was Storaro’s decision to go with the 2.00:1 ratio. In this message, we learn that Storaro claims he always intended Last Emperor to be 2.00:1 – even though I don’t believe it ever ran anywhere in that ratio.

If you ask me, Storaro has been taking revisionist history lessons from George Lucas. I don’t know why he now so adores 2.00:1 ratios, but he maintains some weird boner for that framing and apparently would rather see his original compositions cropped rather than go with 2.20:1 or 2.35:1 on DVD. I don’t get it, but for whatever it’s worth, that’s what we get.

Does the cropping negatively affect the film? Yes, to a modest degree. The alteration in aspect ratio doesn’t significantly mar the framing, but it occasionally makes things tighter than they should be, and some cramped shots result. Though these don’t become fatal flaws, they’re unnecessary and a disappointment.

The up and down nature of the transfer also created some disappointments. Sharpness caused the majority of my complaints. Much of the movie demonstrated good delineation and definition. However, edge haloes cropped up on occasion, and those led to some softness. Wide shots varied a lot; many were nice and tight, but others were a bit blurry. At least I saw no jaggies or shimmering, and source flaws remained minimal. Grain could be a little heavy at times and I noticed a couple of small specks, but overall the movie seemed clean.

Colors offered a highlight. The film’s palette depended on its era, as the shots from 1950 were quite restrained. The tones became more monochromatic as the flick progressed, so the scenes within the Forbidden City looked best. They provided lots of vivid, dynamic hues. Blacks were dark and dense, while shadows appeared clear and well-developed. Much of the film looked very good, but the sporadic softness and edge enhancement left this as a “B” transfer.

I thought that the Dolby Stereo soundtrack of The Last Emperor was satisfying for its age. The soundfield didn’t impress, but it worked fine. The mix showed nice stereo imaging for the music, and environmental material opened up the settings to a decent degree. Elements panned smoothly and formed a good sense of place and ambience. The surrounds didn’t get much to do, as only a few shots – like the storeroom fire – made them known – but their restrained nature wasn’t a problem. The soundfield may have been low-key, but it seemed more than acceptable for this film.

Audio quality aged well. Speech consistently appeared natural and concise; no edginess or flaws marred the dialogue. Music was lively and lush, and effects accurately represented the elements in question. Bass response didn’t dazzle, but low-end was reasonably full. Though not anything impressive, I did feel pleasantly surprised with the smooth quality of this enjoyable soundtrack.

How did the picture and audio of this 2008 DVD compare to those of the original 1999 DVD? The sound seemed a bit superior, at least in terms of quality. Both soundfields were reasonably similar, but I felt the new disc offered clearer, more distinctive audio.

However, the biggest step up came from the visuals. To put it mildly, the 1999 DVD looked terrible, as it suffered from a ton of problems and never became even vaguely satisfying. Despite some concerns, the 2008 release offered a tremendous improvement. The 1999 came with the correct 2.35:1 aspect ratio, but that’s its only positive, as everything else about it was atrocious. Minor warts and all, the Criterion DVD is easily the more appealing of the two.

For this deluxe release of The Last Emperor, Criterion pack in tons of extras. We find two separate versions of the film. DVD One includes the original 1987 theatrical cut (2:42:56), while DVD Two provides the extended television version of Emperor (3:38:36). For years, folks have referred to the latter as the Director's Cut. Indeed, even this package’s producers initially thought that it represents Bernardo Bertolucci’s preferred version of the flick.

However, as indicated in a press release from Criterion, it turns out that the longer cut was created for TV as a contractual obligation. Bertolucci regards the theatrical cut as his preferred edition of the movie and even states that he thinks the TV version is more “boring”. I’d have to agree, as I think the longer take drags too much and doesn't offer enough to compensate for the radically increased running time. I do like the fact that this package includes both cuts, though, as the TV version becomes a nice bonus.

In addition to the film’s trailer, an audio commentary appears on DVD One. This edited piece accompanies the theatrical cut of the movie and includes remarks from director Bernardo Bertolucci, producer Jeremy Thomas, screenwriter Mark Peploe, and composer/actor Ryuichi Sakamoto. They discuss story and script issues, shooting in China, cast, characters and performances, sets and production design, the score, some facts behind the tale, and other production elements.

I thought this was a good but not great commentary. On the positive side, it did brush on a lot of useful subjects as it neatly balanced movie-making topics, historical background and thematic elements. However, I must admit the track never really engrossed me. I found it to be interesting but not better than that, as I found my attention wandering more than occasionally. It’s worth a listen, though, and it adds to the package.

Many documentaries and interviews show up across DVDs Three and Four. On DVD Three, we start with a 53-minute program called The Italian Traveler, Bernardo Bertolucci. This piece from the late 1980s shows Bertolucci as he meanders about and muses about his life and his art. It becomes interminably pretentious, to be honest, and rarely very interesting. Even when it heads to the set of Emperor, we don’t get much of value. I can’t say I enjoyed this fairly forgettable show.

Next we find seven-minutes and 59-seconds of Pre-Production Video Images from China. Bertolucci shot these location scouts himself, and the program comes with his original Italian narration about what he found. We can also listen to the footage with new commentary from Bertolucci to put the material in context. In either audio format, we see valuable clips and learn a reasonable amount about Bertolucci’s early experiences.

Two more documentaries fill out this disc. Another product of the late 1980s, The Chinese Adventure of Bernardo Bertolucci goes for 50 minutes and 51 seconds as it follows the director on the set and elsewhere during the film’s creation. Unfortunately, ala “Traveler”, this means lots of dreamy shots of Bertolucci as he wanders around and mulls his flick. We find a few interesting images from the set and elsewhere but these usually don’t prove to be especially revealing or interesting. Even the better elements are undercut by moronic subtitles like “this is how to win an Oscar!” as we watch Bertolucci clean up a mess on the set. “Adventure” tends to drag and rarely becomes anything involving.

DVD Three concludes with the 45-minute and two-second Making The Last Emperor. This newly created program features remarks from cinematographer Vittorio Storaro, editor Gabriella Cristiana, costume designer James Acheson and art director Gianni Silvestri. They discuss Bertolucci’s skills and style, how the various participants came onto the project and what they brought to it, and aspects of costumes, cinematography, editing and production design. After the dreamy and disappointing “Traveler” and “Adventure”, the much more informative “Making” comes as a relief. It sticks mostly with nuts and bolts elements of the production, but they’re interesting and turn this into a good show.

Over on DVD Four, we begin with The Southbank Show. This one-hour, five-minute and 57-second British special from the 1980s comes on location in China and features notes from Bertolucci, Pu Yi’s brother Pu Chieh, Pu Yi’s Chinese prison governor, actors John Lone, Ying Ruocheng and Peter O’Toole, and unnamed Chinese extras. The program looks at some of the history behind 20th century China and the movie’s situations/characters, modern impressions of China and shooting there, and a few other production elements.

While not a great documentary, at least “Southbank” easily outdoes the two lackluster vintage pieces on DVD Three. He doesn’t provide any great insights, but it’s cool to see the real Pu Chieh, and some of he footage from the set adds value. I especially like the shots in which we see how they eked a performance out of three-year-old Richard Vuu, and we find a lot of valuable archival material with the real Pu Yi. This becomes an erratic special but it has some good moments.

We hear from one of the film’s composers in the 25-minute and three-second David Byrne Interview. The musician discusses how Bertolucci recruited him for Emperor and his work on the film. We also hear some demo versions of his themes. Byrne provides a good recap of his involvement in the production as well as nice insights into his music for the flick.

Another documentary arrives next. Beyond the Forbidden City fills 45 minutes, 12 seconds and features a look at the history related to Emperor via comments from historian Ian Buruma. “Beyond” will earn no style points, as it essentially just alternates archival photos with talking head shots of Buruma. However, it delivers excellent content. It presents an intelligent and concise exploration of various political issues, so it turns into a very informative piece.

Finally, a 1989 interview with Bertolucci comes to us via The Late Show: Face to Face. The 30-minute and 33-second program examines the director’s reaction to the film’s success and others’ interpretations, thoughts about his parents and childhood, his early movies and further cinematic development, and his style as a director. At times, “Face” becomes a little too abstract for its own good, but it generally offers good insights into Bertolucci’s personality and his films. The director proves thoughtful and chatty as he looks at his work.

In addition to all these video extras, the package includes a 96-Page Booklet. In this text, we find an essay from film critic David Thomson, a short 1987 piece written by Bertolucci, interviews with production designer Ferdinando Scarfiotti and actor Ying Ruocheng, and excerpts from the film’s shooting diary. Criterion produces the best booklets in the industry, and this is one of their best.

Unfortunately, I can’t call The Last Emperor one of the best Oscar winners. The movie certainly has its merits, and I think it’s more than competent. However, it simply never does much for me, as I think it fails to ever become a particularly involving piece. The DVD offers generally positive picture and audio, though the altered aspect ratio harms the shot composition. The package excels in terms of extras, however, as it packs in hours of supplemental materials. Not all of these are interesting, but there’s more than enough to satisfy. Despite some misgivings about the compromised aspect ratio, this is easily the best DVD version of Emperor on the market.

To rate this film visit the original review of THE LAST EMPEROR

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Review Archive:  # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Main