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The Last Emperor

The Last Emperor

Drama · History · 1987

A dramatic history of Pu Yi, the last of the Emperors of China, from his lofty birth and brief reign in the Forbidden City, the object of worship by half a billion people; through his abdication, his decline and dissolute lifestyle; his exploitation by the invading Japanese, and finally to his obscure existence as just another peasant worker in the People's Republic.

Movie details

The Last Emperor

“1500 slaves. 353,260,000 royal subjects. Warlords. Concubines. And 2 wives. He was the loneliest boy in the world.”

1987 Drama · History 2h 43m

Critical arithmetic

One number, for now.

TMDB

7.6 / 10

Community rating

A dramatic history of Pu Yi, the last of the Emperors of China, from his lofty birth and brief reign in the Forbidden City, the object of worship by half a billion people; through his abdication, his decline and dissolute lifestyle; his exploitation by the invading Japanese, and finally to his obscure existence as just another peasant worker in the People's Republic.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Last Emperor?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Bernardo Bertolucci

Written by

Mark Peploe · Bernardo Bertolucci

John Lone

John Lone

Pu Yi (Adult)

Joan Chen

Joan Chen

Wan Jung

Peter O'Toole

Peter O'Toole

Reginald Johnston (R.J.)

Ruocheng Ying

Ruocheng Ying

The Governor

Victor Wong

Victor Wong

Chen Pao Shen

Dennis Dun

Dennis Dun

Big Li

Ryuichi Sakamoto

Ryuichi Sakamoto

Amakasu

Court is in session

Put The Last Emperor on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.