![]() ![]() ![]() The film jumps back and forth across time, from his childhood on the Chinese Throne to his inevitable abdication, from his imprisonment to his release into a world that has left him behind. ![]() This biopic tells the story of Pu-Yi, the last emperor of China. The movie is a visual morsel, and it will make your eyes salivate from the first shot to the last. However, it is in The Last Emperor that they are both at their finest. These include Last Tango in Paris and The Sheltering Sky. The Last Emperor (Bernardo Bertolucci, 1987)īertolucci collaborated with master cinematographer Vittorio Storaro in many films. Its greatest quality is the intimacy we are allowed to share with the characters.ġ4. Ondaatje’s novel is also highly recommended.Īnthony Minghella’s adaptation is nothing less than a champion for flawless storytelling. They give interesting views on movies and storytelling, and it is a must read for anyone interested in film editing. The Conversations: Walter Murch and the Art of Editing Film recounts editor Walter Murch’s conversations with the author of the book, Michael Ondaatje. When it finally settles, we feel as burnt as our title character. The story elegantly leaps in time, sweeping us like sand in a desert storm. From the start, we are bombarded with intriguing character and plot questions, each and every one falling into place as the movie progresses. A nurse looks after a badly burned man, known only as the English patient. So what makes The English Patient earn such high praise? Roger Ebert compares director Anthony Minghella’s visual bravado with that of David Lean. The English Patient (Anthony Minghella, 1996)Ĭritics have hailed this film as “the Casablanca of the late 20th Century”. However Homeric their journeys are, they all lead down a long, winding path into our humanity.ġ5. But there is something all of these epics share in common. They transport us from vast desert landscapes to the gaping void of space, from dismal jungles to countries torn apart by the drums of war. These filmmakers had the audacity to dramatize their ideas in majestic splendor. Every frame carries tremendous ambition that translates into piercing emotions for the audience. Their visions are only matched by the jaw-dropping spectacles they exhibit on screen. The greatest epics are movies unparalleled in magnificence. I said yes otherwise I would be someone who had no dream left, and without dreams I would not want to live.”įrom Conquest of the Useless: Reflections from the Making of Fitzcarraldo, by Werner Herzog “But the question that everyone wanted answered was whether I would have the nerve and the strength to start the whole process from scratch. ![]()
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