In the last emperor, the wet nurse left. Why did the emperor say it was my butterfly?

Express his attachment and love for the wet nurse. He was sent to the palace at the age of three and left his birth mother. Only his wet nurse accompanied him, his friend and his support. His wet nurse is like an angel to him. Bertolucci is a very emotional and gentle director. The wet nurse was beautiful and gentle, but she was forced to leave the Forbidden City and fly away like a butterfly. Puyi was disappointed. A foreign director created the confusion and melancholy of Zhuang Zhou's Dream Butterfly. This is also an understanding.

Puyi had more contacts with people in her childhood, such as wet nurses, eunuchs and various old ladies. There is no doubt that the wet nurse is a person who relies on attachment in his childhood, both physically and psychologically. ?

People like Pu Yi live in the Forbidden City, almost as if they have no parents. The wet nurse is a butterfly in his heart, which is extremely beautiful and light. After over-interpretation, it is still erratic and fleeting (because a wet nurse is a wet nurse, when can she be milked and when can she not be milked, and how old is he? This is not what Puyi and wet nurse said). ?

What Pu Yi said means that the wet nurse is not a human flesh bottle, but his only family bond in this world. The metaphor of butterfly is actually very straightforward, without so many hidden meanings.

Extended data

The Last Emperor is a biographical film jointly produced by Italian Yanko Film Company, British Daoao Film Company and China Film Co-production Company, directed by bernardo bertolucci and starring John Lone, Chen Chong, Vivian Wu and Peter O'Toole. The film was released in Italy on1October 23rd198715th, and its original 3D version was released at Shanghai International Film Festival in China on June 20th15th.

The film tells the story of the ups and downs of Aisin Giorro Puyi, the last emperor of China, from becoming an emperor to becoming an ordinary citizen.

From 65438 to 0988, the film won nine awards at the 60th Academy Awards, including best film, best director, best adapted screenplay, best photography, best art design, best costume design, best editing, best sound effect and best original music.

1, the grandeur of life

After the founding of People's Republic of China (PRC), Puyi, the puppet emperor of the Qing Dynasty who abolished the Emperor and the Puppet Manchukuo, was taken back to China from the Soviet Union as a war criminal. Desperate, he tried to end his life in the toilet, but he was unexpectedly found and rescued, so flashback explained his ups and downs.

The film is based on "Dusk in the Forbidden City" by Pu Yi's teacher Zhuang Shidun, and refers to "My First Half Life" and other related works in detail, so that we can see a Pu Yi completely different from common sense in the film. The once-controversial Fei Di, who was defined as a sinner, became an ambitious but weak and mediocre person from the director's perspective and was repeatedly played in the storm of history.

Bertolucci once said, "If I didn't have sympathy for Puyi, I wouldn't have made this biographical film." Numerous details in the film seem to confirm this sentence again and again. From the Forbidden City to Tianjin, and then from the puppet Manchukuo to the prison, he was resisting and struggling. However, his life is destined to be different from ordinary people but free.

When he was young, what bound him was a scarlet palace wall, a rule that had long been decayed but had to be observed, and a huge net woven by all people's fears and lies. The child who has everything has not seen his mother for seven years. He glanced at the first emperor's concubines and turned to give the wet nurse milk. In his world, the so-called mother is as vague as the complicated world outside the palace and the short childhood.

When Mammy Amao left the palace, Puyi shouted her name all the way and cried that her butterfly had flown away. But this butterfly symbolizes not the longing for maternal love and the difficulty in giving up maternal love, but the unprecedented fear of his so-called growth, which means the invisible collapse of his emperor status.

Amao, like the complicated world outside the palace, gave him unlimited imagination and became an emotional sustenance. The eunuchs pulled up the white cloth, and he got endless happiness and freedom when he touched it. However, white cloth is always an insurmountable obstacle. The Forbidden City is a besieged city. The soldiers outside the palace gate looked in curiously, but the people inside were eager to escape all the time.

Puyi should have been imprisoned as an emperor for life like all his ancestors, but unexpectedly left because of historical changes, although this kind of departure seemed so reluctant. Feng Yuxiang discovered for the first time that he hated his weakness more than the imprisonment of the Forbidden City.

He will regret the land that Manchuria was taken away by the Russians, cut off his hair to show his determination of pro-government reform, drive away 1200 eunuchs after a fire, and argue for the equal status of Manchuria and Japan in parliament, but in the end he will find that everything he has done is so small and powerless in the face of the torrent of history.

In Tianjin Concession, he was intoxicated with it and could only face the so-called frustration and confusion as indulgently as ordinary people. Maybe he really believes in the "Manchukuo" promised by the Japanese, or maybe he can only be pushed in the footsteps of fate.

2. The psychological process of light and shadow creation

The use of light and shadow in the whole film can be called textbook level. Like most films' treatment of dual space-time structure, the director uses multiple tones to distinguish multiple time nodes, and different lighting arrangements also confirm the inner changes of characters at different times. Puyi's special growth trajectory and life choice are mysterious and full of charm against the background of light, shadow and color.

According to the young background, the audience can rarely see the natural light in the picture. Most of the time, Xiao Puyi is placed alone in the shadow of the palace. When Cixi made him emperor for ten thousand years, the whole hall was shrouded in the afterglow of the sunset, full of children's imagination, probably symbolizing the sunset of the Qing Dynasty.

The appearance of Mr. Johnston lit up every corner of Puyi's heart, instilled knowledge and broadened his horizons. Johnston not only opened the door for him to know this new world, but also became the first person to communicate with him from an equal perspective. So what appeared in the camera was not only the closed palace door, but also the empty space and a little freedom that he had never had before.

Light and shadow gradually became clear from this time, and the whole scene was full of vitality and hope. The red color of the overflow lens at the wedding probably accurately described Puyi's mood at that time. The appearance of marriage, pro-government, and favor probably swept away all the haze of his youth, and also made him realize that under all these arranged fates, he still had room to make his own choices to control his life.

The fire in the warehouse is probably the last colorful scene in the movie. He drove away all the eunuchs and controlled his palace like a real emperor. The first half of the film is full of gorgeous and fantastic colors, which is the director's magical imagination of the eastern countries and an alternative portrayal of Puyi's situation at this time.

Baidu Encyclopedia-The Last Emperor