The Last Stand is the third group album from Hip Hop collective Boot Camp Clik, released on July 18, 2006. The group consists of Black Moon's Buckshot, Smif-N-Wessun's Tek and Steele, Heltah Skeltah's Rock and Sean Price, and O.G.C.'s Starang Wondah, Louieville Sluggah and Top Dog. The album marks the return of Rock, who had left Duck Down Records in 1999 to pursue a solo career. Popular producers involved in the project include Pete Rock, Da Beatminerz, 9th Wonder and Large Professor.

The first track released from the project was "Trading Places", which was also the first music video from the album. The first official single released was "Yeah", which features "Trading Places" and "Let's Go" as the B-Side.

Track listing[link]

Album singles[link]

Music videos[link]

"Trading Places" Director: Kareem Edouard
Released: 2006 --> "Here We Come" Director: General Steele

Chart positions[link]

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The last stand of the survivors of Her Majesty's 44th Foot at Gandamak, painted by William Barnes Wollen

Last stand is a loose military term used to describe a body of troops holding a defensive position in the face of overwhelming odds. The defensive force usually takes very heavy casualties or is completely destroyed, as happened in "Custer's Last Stand" at the Battle of the Little Bighorn.^[1] Bryan Perrett suggests that although the majority of last stands throughout history have seen the defending force overwhelmed, on rare occasions the outnumbered defenders succeed in their desperate endeavours and live to fight another day, and he lists the Battle of Rorke's Drift as one such engagement.^[2] Battle of Saragarhi is another example of such a last stand.

Tactical significance[link]

The Shangani Patrol -- The last stand of Major Allan Wilson, Matabeleland, 4 December, 1893.

A "last stand" is a last resort tactic, and is chosen because the defending force realizes the benefits of fighting outweigh the benefits of retreat or surrender. This usually arises from strategic or moral considerations, leading defenders to conclude that their sacrifice is essential to the greater success of their campaign or cause, as happened at the end of the Battle of Thermopylae.^[3]

The situation can arise in several ways. One situation is that retreat by the defending force would lead to immediate defeat, usually due to the surrounding geography or shortage of supplies or support, as happened to the Royalist infantry on Wadborough Hill after the Battle of Naseby.^[4][5]

Sometimes, rather than face annihilation at the hands of a pursuing victorious army, a rearguard will be tasked by the commander of the defeated army with hindering the advance of the victorious army. Even if the rearguard is destroyed in a last stand, its sacrifice may buy their commander time to disengage without losing the majority of his army as happened during the Battle of Roncesvalles or the Dunkirk evacuation in June 1940.^[6] The Iraqis also employed this tactic at the conclusion of the first Gulf War, where the Americans were forced to spend so much time destroying the Lion of Babylon tanks of the Tawakalna Division that the remainder of the Republican Guard was able to retreat successfully.^[7]

The term has also been used to describe the last pitched battle of a war where the position of the defending force is hopeless but the defending force considers it their duty not to surrender until forced to do so, as happened to the last Royalist field army of the First English Civil War at the Battle of Stow-on-the-Wold.^[8]

At the end of a siege[link]

A siege may lead to a last stand by the defenders (see for example the Battle of the Alamo or the Siege of Constantinople (1453)).^[9] Last stands at the end of sieges became less common after the Hague Conventions came in force. Before the 20th century, if a besieged garrison refused any offered terms of surrender and the attackers subsequently breached the defences, the defenders were only given quarter at the discretion of the attackers, something they were not likely to do if they perceived that by holding out, with no hope of relief, the defenders had needlessly squandered lives. Under the laws of war as they are now "...it is especially forbidden - ... To kill or wound an enemy who, having laid down his arms, or having no longer means of defence, has surrendered at discretion; [and] To declare that no quarter will be given ...",^[10] it is unlawful for an attacking force to kill a garrison if they attempt to surrender even if it is during the final assault on a fortified position.

Historical significance[link]

Last stands loom large in history due to the pull on popular imagination. Historian Nathaniel Philbrick argues:^[11]

Long before Custer died at the Little Bighorn, the myth of the Last Stand already had a strong pull on human emotions, and on the way we like to remember history. The variations are endless — from the three hundred Spartans at Thermopylae to Davy Crockett at the Alamo — but they all tell the story of a brave and intractable hero leading his tiny band against a numberless foe. Even though the odds are overwhelming, the hero and his followers fight on nobly to the end and are slaughtered to a man. In defeat the hero of the Last Stand achieves the greatest of victories, since he will be remembered for all time.

See also[link]

• Suicide attack
• Forlorn hope

References[link]

The Last Emperor is a 1987 biopic about the life of Puyi, the last Emperor of China, whose autobiography was the basis for the screenplay written by Mark Peploe and Bernardo Bertolucci. Independently produced by Jeremy Thomas, it was directed by Bertolucci and released in 1987 by Columbia Pictures.^[3] Puyi's life is depicted from his ascent to the throne as a small boy to his imprisonment and political rehabilitation by the Chinese Communist authorities.

The film stars John Lone as Pu Yi, with Joan Chen, Peter O'Toole, Ruocheng Ying, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, and Chen Kaige. It was the first feature film for which the producers were authorized by the Chinese government to film in the Forbidden City in Beijing.^[1] It won nine Academy Awards, including Best Picture and Best Director.^[4]

Plot[link]

The film opens in 1950 with Pu Yi's re-entry into the just-proclaimed People's Republic of China as a political prisoner and war criminal, having been captured by the Red Army when the Soviet Union entered the Pacific War in 1945 (see Soviet invasion of Manchuria) and been in their custody for the past five years. Puyi attempts suicide, which only renders him unconscious. In a flashback, apparently triggered as a dream, Puyi relives his first entry, with his wet nurse at his side, into the Forbidden City.

The next section of the film is a series of chronological flashbacks showing Puyi's early life: from his royal upbringing, to the tumultuous period of the early Chinese Republic, to his subsequent exile, his Japanese-supported puppet reign of Manchukuo, and then his capture by the Soviet army — all of which are intermixed with flash-forwards portraying his prison life. Under the “Communist re-education program” for political prisoners, Puyi is coerced by his interrogators to formally renounce his forced collaboration with the Imperial Japanese invaders for war crimes during their occupation of China during the war. Finally, after a heated discussion with the camp commandant and upon watching a propaganda film detailing the wartime atrocities committed by the Japanese, Puyi recants his previous stance and is set free and rehabilitated by the government in 1958.

The concluding section of the film ends with a flash-forward to the mid-1960s during the Mao cult and the beginning of the Cultural Revolution. By now, Puyi has become a simple gardener who lives a peasant proletarian existence. On his way home from work, he happens upon a Red Guard parade, complete with children playing pentatonic music on accordions en masse and dancers who dance the rejection of landlordism by the Communists. His prison camp commander, his only friend during his incarceration, is forced to wear a dunce cap and a sandwich board bearing punitive slogans, and is one of the political prisoners now punished as an anti-revolutionary in the parade.

Puyi later visits the Forbidden City as an ordinary tourist. There he meets an assertive little boy wearing the red scarf of the Pioneer Movement. The young Communist orders Puyi to step away from the throne. However, Puyi proves to the boy that he is indeed the Son of Heaven, proceeding to approach the throne. There, Puyi discovers the 60 year old pet cricket he kept as a child and gives it to the child. Amazed by the gift, the boy turns to talk to Puyi, but the emperor has disappeared.

The film ends with a tour guide leading a tour in front of the throne, where the guide sums up Puyi's life in a few, brief sentences, concluding that he died in 1967.

Cast[link]

• John Lone as Puyi (adult)
• Joan Chen as Wanrong
• Peter O'Toole as Reginald Johnston
• Ying Ruocheng as Detention Centre Governor
• Victor Wong as Chen Baochen
• Dennis Dun as Big Li
• Ryuichi Sakamoto as Amakasu Masahiko
• Maggie Han as Eastern Jewel (Yoshiko Kawashima)
• Ric Young as Interrogator
• Vivian Wu (credited as Wu Jun Mei) as Wenxiu
• Cary-Hiroyuki Tagawa as Chang
• Jade Go as Ar Mo
• Fumihiko Ikeda as Colonel Yoshioka
• Richard Vuu as Puyi (3 years old)
• Tijger Tsou as Puyi (8 years old)
• Wu Tao as Puyi (15 years old)
• Fan Guang as Pujie (adult), Puyi's younger brother
• Henry Kyi as Pujie (7 years old)
• Alvin Riley III as Pujie (14 years old)
• Lisa Lu as Empress Dowager Cixi
• Hideo Takamatsu as General Hishikari Takashi
• Hajime Tachibana as Japanese Translator
• Basil Pao as Zaifeng, Prince Chun, Puyi's father
• Henry O as Lord Chamberlain

Production[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2010)

Bernardo Bertolucci proposed the film to the Chinese government as one of two possible projects - the other was an adaptation of La Condition Humaine by André Malraux. The Chinese preferred this project. During filming of the immense coronation scene in the Forbidden City, Queen Elizabeth II was in Beijing on a state visit. The production was given priority over her by the Chinese authorities and she was therefore unable to visit the Forbidden City.

Producer Jeremy Thomas managed to raise the $25 million budget for his independent production single-handedly. At one stage, he scoured the phone book for potential financiers.^[5]

Thomas later remembered his experience shooting the film:

It was a very long and difficult period to set it up, full of nightmares, it was like a dark tunnel, to shoot for six months in China, not being able to stop, but out of it came this beautiful thing, and I have totally forgotten all the nightmares. I just think about what an extraordinary experience it was to be in China at the beginning of open doors, to be allowed to make that film there, with a filmmaker like Bertolucci, with whom I have managed to continue a wonderful relationship and friendship for more than twenty years now and six movies. So that was a big point for me in my life and career.

When you make films in different places, you need to find the mercenary warriors to help you make the film, because no man is an island. The best technicians came to work on the film, like Vittorio Storaro and the designer Fernando Scarfiotti, and James Acheson the costume designer. So a group of professionals plus a tremendous amount of support from Italy, because the Italian government and the Chinese were very close. So there was a bonding between the Italians and Chinese. In fact the British Council and British Embassy were rather hands off when we arrived there, they came to claim it later but... If an Emperor can become a gardener then what better, and one day they will tell this story. And then we came and we told that story. Of an Emperor, son of Heaven, ruler of a quarter of the world, one man, and he died as a gardener. So this was an irresistible and grand epic idea. It was terrifying but it happened.

The difficult thing about the success of that film was that it was a difficult film to emulate, and I have never been to that pinnacle of a certain type of film. And I doubt if I ever would or could make a film like that again. I don’t know how one would have made those films in the independent arena today. There were no digital shots, it was before digital, and filmed with real people.^[6]

19,000 extras were needed over the course of the film. The Chinese army was drafted in to accommodate.^[6]

Soundtrack[link]

While not included on the album soundtrack, the following music was played in the movie: "Am I Blue?" (1929), "Auld Lang Syne" (uncredited), and "China Boy" (1922) (uncredited).^[7]

Release[link]

The film was originally released by Columbia Pictures, although they were initially reluctant, and producer Jeremy Thomas had to raise a large sum of the budget independently. Only after shooting was completed did the head of Columbia Pictures agree to distribute The Last Emperor in North America.^[1] Columbia later lost the rights when it reached home video through Nelson Entertainment, which released the film on VHS and Laserdisc. Years later, Artisan Entertainment acquired the rights to the film and released both the theatrical and extended versions on home video. In February 2008 The Criterion Collection (under license from now-rights-holder Jeremy Thomas) released a four disc Director-Approved edition, again containing both theatrical and extended versions.^[8] Criterion released a Blu-ray version on 6 January, 2009.^[8]

The Last Emperor had an unusual run in theatres. It did not enter the weekend box office top 10 until its twelfth week in which the film reached #7 after increasing its gross by 168% from the previous week and more than tripling its theatre count (this was the weekend before it was nominated for the Academy Award for Best Picture). Following that week, the film lingered around the top 10 for 8 weeks before peaking at #4 in its 22nd week (the weekend after winning the Oscar) (increasing its weekend gross and theatre count by 306% and nearly doubling its theatre count) and spending 6 straight weeks in the weekend box office top 10.^[9] Were it not for this late push, The Last Emperor would have joined The English Patient, Amadeus and The Hurt Locker as the only Best Picture winners to not enter the weekend box office top 5 since these numbers were first recorded in 1982.

Awards[link]

At the 60th Academy Awards, the film won nine Oscars:^[4]

• Best Picture (Jeremy Thomas)
• Best Director (Bernardo Bertolucci)
• Best Art Direction (Ferdinando Scarfiotti, Bruno Cesari and Osvaldo Desideri)
• Best Cinematography (Vittorio Storaro)
• Best Costume Design (James Acheson)
• Best Film Editing (Gabriella Cristiani)
• Best Original Score (Ryuichi Sakamoto, David Byrne and Cong Su)
• Best Sound (Bill Rowe and Ivan Sharrock)
• Best Adapted Screenplay (Mark Peploe and Bernardo Bertolucci)

Historical omissions[link]

In Japan, the Shochiku Fuji Company edited out a thirty-second sequence from The Last Emperor depicting the Rape of Nanjing before distributing it to Japanese theatres, without Bertolucci's consent. The Rape of Nanjing — in which hundreds of thousands of Chinese civilians were massacred by the Imperial Japanese Army — is an event disputed by the Japanese government, and a diplomatic stumbling block with China. Bertolucci was furious at Shochiku Fuji's interference with his film, calling it "revolting". The company quickly restored the scene, blaming "confusion and misunderstanding" for the edit while opining that the Rape sequence was "too sensational" for Japanese audiences.^[10]

Jeremy Thomas recalled the approval process for the screenplay with the Chinese government: "It was less difficult than working with the studio system. They made script notes and made references to change some of the names, then the stamp went on and the door opened and we came."^[6]

Alternate versions[link]

The film's theatrical release ran 160 minutes. An extended version currently available on DVD runs 218 minutes; cinematographer Vittorio Storaro and director Bernardo Bertolucci have confirmed that this version was created for television and does not represent a "director's cut".^[11] The television cut includes more footage from the stifling palace of Manchukuo. An entire character cut from the theatrical release is the drug-addled opium pusher appointed Minister of Defence by the Japanese, who becomes a sort of demon when he surfaces in Pǔyí's prison camp, whispering the awful truth to Puyi at night. In addition, the extra footage shows more detail about the way in which Pǔyí was unable to take care of his own needs without servants.^{[citation needed]}

The Criterion Collection 2008 version of 4 DVDs adds commentary by Ian Buruma, composer David Byrne, and the Director's interview with Jeremy Isaacs (ASIN: B000ZM1MIW, ISBN 978-1-60465-014-3). It includes a booklet featuring an essay by David Thomson, interviews with production designer Ferdinando Scarfiotti and actor Ying Ruocheng, a reminiscence by Bertolucci, and an essay and production-diary extracts from Fabien S. Gerard.

See also[link]

	China portal
	United States portal
	Film portal

• List of historical drama films of Asia

References[link]

External links[link]

• The Last Emperor at the Internet Movie Database
• The Last Emperor at Rotten Tomatoes
• The Last Emperor at AllRovi