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Rating: "The Last Emperor" will win nine Oscars for cinematography, editing, screenplay, costumes, adapted screenplay, best film, best director Bernardo Bertolucci, best sound, and best score entrusted to Ryuichi Sakamoto in collaboration with David Byrne and featuring Cong Su. Ryuichi graduated in composition with a focus on electronic and ethnic music, composer, musician, producer, and actor, a man of great refinement and genetically definable as a sound transformer from subjective to objective, a brilliant researcher of unmistakable originality between orchestra and experimentation of technological styles in musical expression, disseminator of Eastern tradition consecrated in the West through world music, his best friend? David Sylvian, his favorite composer? Ennio Morricone, his favorite director? Bernardo Bertolucci.
The troubled life of Pu Yi, the last Emperor of China forced to remain in the Forbidden City by the Republicans of Sun Yat-Sen, then sent into exile with the figure of a lover of the sweet sex, then turned into a puppet in the hands of the Japanese occupiers, became a prisoner of the Soviets accused of collaborationism, finally returned to China and subjected to a long period of "re-education," this is the epilogue of his sadly melancholic life as is the portrait of his existence. Born Emperor, he will live as an object of exchange and in the end, die alone.
We are eclipsed in eighteen meticulously assembled tracks, from number 1 to 9 signed by Sakamoto, from 10 to 14 by an experimenter, David Byrne, the 15th signed by Cong Su, and the remaining 16-17-18 by global orchestral groups, in all the pieces the exclusive presence of traditional Chinese instruments dominates.
"First Coronation," an Eastern fairy tale announces the impetuous Colossal with trumpets, harp, and gong, the orchestra is impeccable - "Open The Door" the grimaces of violins and cellos marching at a quickening pace towards the intoxicating flower garden where suitors watch the graceful dances of reserved maidens - "Where Is Armo?" the fragrance of the past, the peace of the present, and the future wisdom of a chosen people - "Picking Up Brides" distant echoes returning to tell about themselves on the strings of a stretched mandolin - "The Last Emperor (Theme Variation I)" echoes resonating in vast expanses of valleys calling the gaze to the past - "Rain (I Want A Divorce)" unease and a plunge into the West, still violins and cellos dancing in search of a graceful escape skating on a frozen lake -"The Baby (Was Born Dead)" - piano, harp, and cellos dominate in a walk where the warm wind of sadness suffocates the breath - "The Last Emperor (Theme Variation II)" - the Emperor watches from his window the light of a loving sun, sensing that this happiness will not last forever - "The Last Emperor (Theme)" the last Emperor matters at this moment in being himself for others but knowing that tomorrow he will no longer be for anyone - "Main Title Theme (The Last Emperor)" the orchestral instruments flutter like delicate, frightened butterflies between one flower and another while swarms of bees abandon their hives rich with sweet golden nectar - "Picking A Bride" - the queen bee must defend her territory and the Emperor his land, the strength of survival for a sweet cause - "Bed" - drums, tambourines, violins, and xylophone merrily tread the narrowest alleys of a village that smells of reserved shame hiding in backgrounds of innocent giggles - "Wind, Rain And Water" the East takes the West by the hand through the perfect amalgamation of instruments - "Paper Emperor" a sigh, a rustle, light notes tiptoe and bow for incalculable devotion, while the grumpy double bass complains with grimaces amid so much finesse - "Lunch" accordion and cellos trill in a cheerful track that reassembles the mixing of East with West - "Red Guard" a stunning clarinet and deep trombone in a funeral march open the way for the announcement of imposing trumpets - "The Emperor's Waltz" - a heart-wrenching clarinet struggles to navigate a frightened China and from the bells that recall distant echoes on strings of mandolins enamored with flutes "The Red Guard Dance" but returns the cheerful Western accordion that distorts the surrounding environment and as it comes, even though it goes away without much noise.
Therefore, praises to Sakamoto and Byrne for the extraordinary ability to accompany sound with visuals with innate natural purity of real and shareable expression that is defined in one word: Art.
Tracklist
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