All three and a half hours, I did it. You barely notice it though, the constant flashback action that goes on causes the film to be very fluent and quick.
Speaking specifically of the flashback formation of the film, I couldn’t help but notice the technical differences applied between the past and present scenes. Bertolucci, the Italian director, who also did La Conformista, structured the film based on the range of perspective. In the present, Pu Yi is one of many. He is no longer the emperor, but rather a fellow prisoner in Red China. Scenes are shot from a distance, often only going so far as the 9 foot shot. This demonstrates his place in society.
However, in the scenes beginning at his age of three, the camera is often placed directly in front of the child, using a close up to illustrate his vulnerability. He is, at first, completely unaware of his power and responsibility. If the camera is not portraying a close up, it is placed behind him. The environment surrounding him is as important at the subject. Like in the photo above, this scene in the film shows the first time the new emperor is exposed to the members of the Forbidden City. He is so small, taking up only a small portion of the frame, yet you feel his importance vibrating through the image.
The transition between these two forms of filmmaking occur in a very strategically organized scene. At least this when I noticed it. There is some sort of ball attended by Pu Yi and his two wives. From the balcony above, we the audience see a camera man slowly panning down to the main center, filming the group. Since we see this first, we obviously get the sense that time has passed due to emerging technology. Our camera glances toward this camera man, but soon joins it side by side. In just a matter of about 15 seconds, we are once the observer, then suddenly at the same time and place as everyone else. Hello Communism.
This film was great, I definitely recommend it.
HOLLYWOODLAND 