Letters from Iwo Jima (2006)

Okay,to be honest I was entertained by this movie, at least the first hour or so. The interaction between the general and the soldiers were executed very well. The young protagonist is a likable fella and has the makings of a great drama actor.The depictions of war though were very awkward and a few scenes were directly ripped off from Saving Private Ryan. Unfortunately, the film is like a comic book, that keeps rebooting its characters. The Japanese imperial troops in the movie are now, in Eastwood's misty vision, simply American farm lads with squinty eyes. They also have a mommy back home who cooks meals for them (aw shucks).Sorry Clint, these imperial soldiers were from a different time period and culture. They were a product of a twisted and barbaric way of thinking. It's called the dark side of patriotism, something you are very familiar with, given that you supervised that jingoist tripe, American Sniper. Frankly, it's very hypocritical. Here, you are making a statement that war is evil but in AS, it's alright, as long as it's made to defend the world from "terrorists".Simply put, most of Clint's directorial efforts are boring and sentimental pieces of junk (maybe with the exception of "A Perfect World"). He was great in Spaghetti westerns and dirty cop roles though.

After thoroughly enjoying Clint Eastwood's "Flags of Our Fathers", I was inspired to check out his Japanese-perspective companion piece "Letters From Iwo Jima". Although the film was not bad by any means, it failed (were so many other Eastwood films have succeeded) to really surprise me or get me thinking about deeper issues.Basically, the film centers on the Iwo Jima invasion in the Pacific Theater of World War II, only from the Japanese army perspective. The technical aspects of the battle, such as defending Mt. Suribachi, are discussed, but the movie really is about showing the differences between what the U.S. and Japan viewed as being honorable in battle. Whereas the U.S. would give it's all and then retreat (to save lives) if the battle was not deemed winnable, Japanese soldiers were expected to die at their post (a sort of throw-back to the old samurai Bushido culture), even if that meant committing suicide so as not to be taken prisoner.While it was interesting to become more educated on these differences, I found there to be too few "wow" moments during the film. I came in with the expectation of seeing the Iwo Jima battle from the Japanese perspective, and that is exactly what I got...no more, no less. It's not like Eastwood's other recent films (Million Dollar Baby, Gran Torino, etc.), where they build on complex themes and touch on heavy societal issues. This one is more cut-and-dry.One positive area I would like to single out, however, is the musical score. The plinking piano and soulful strings of Kyle Eastwood did more to tug at my heart-strings than any of the character performances. Eastwood (both Sr. and Jr.) has developed quite a positive reputation for the music of his films, and in no way does this one disappoint.Thus, if able, I would have given this film a "3.5 star" rating. It's better than "just okay" due to the interesting perspective and touching music, but not quite "really good" because of the lack of emotional depth. Also, the sooner you watch it after "Flags of our Fathers", the better, as the subject matter will be fresh in your brain.

You have probably seen many classic old war films of the war in the pacific John Wayne 'Sands of Iwo Jima' etc. This film is a modern classic and (unusually) telling the story through the eyes of a young Japanese soldier. I certainly think Clint Eastwood has shown a lot of talent as a director with this and other films. All the acting is good, the filming and combat scenes grittly realistic. The Americans slowly take the island despite fierce resistance from the Japanese. Whats interesting was seeing the Japanese not just as frothing suicidal banzai fanatics willing to die for the Emperor. but actually as real people. Led by their General who knew their only hope was to cause so much casualties to the Americans that they would rethink invading Japan. Possibly a definition of a classic film is one that you can watch many times because the story, the acting and filming engross you (like a good book). Definitely a classic on the tragedy and futility of war. 8.5/10

As the movie opens, a group of men are climbing up a mountain and then down into a cave in the side of that mountain. The men look like modern Japanese workers in white uniforms. When the camera pulls back, we see that the mountain seems to be the only one on an otherwise desolate- looking island and that it is not far from the beach of the island. The white mountain--Mount Suribachi--sticks up like Devil's Tower or one of those rocky thumb-like structures that juts up in Monument Valley, often seen in one of John Ford westerns. We soon hear distant voices, coming closer, as an almost seamless transition takes us to Japanese soldiers digging trenches on a beach. We realize that this is a the 60-year flashback where the movie's story will unfold. Under orders from their commanding officer, the soldiers are digging endless trenches in perpetration for the coming invasion from the Americans. Among themselves, the soldiers are joking and complaining, 'Why would the Americans want THIS'?..'If they want it they can have it'!! The movie, at times, seems surprisingly peaceful for a war movie. In fact, the main conflicts seem to be between the Japanese officers--at different command levels—and the common soldiers that serve under them.As the 140-minute movie unfolds, we become intimately acquainted with about five major soldiers—officers and subordinates--in the Japanese Imperial armed forces. We get to know them through their conversations, attitudes, flashbacks of their pasts, and responses to unfolding events during their doomed defense of Iwo Jima. Their job is to defend the island against the American invasion that they know is coming and that most realize will fail in the end. At this point in the war, America is on the offense and Japan is in retreat, or at least, in a defensive mode. However, Iwo Jima is critical as a gateway to the Japanese mainland, and the commanding officers know it.When the commanding officer of the campaign, Lt. General Tadamichi Kuribayashi (Ken Watanabe), arrives, his first step is to stop the trench building and establish a fort-like encasement—with tunnels and caves--within Mount Suribachi. Lieutenant Ito (Shido Nakamura) is a strict officer who disciplines his men beyond what is necessary and would rather die for his Emperor than surrender to the enemy. When Baron Nishi (Tsuyoshi Ihara) arrives on Iwo Jima, he is treated like a celebrity due to his recent Olympic victories as Japan's equestrian champion. The cast is rounded out by an idealistic young military policeman, Shimizu (Ryo Kase), and a young soldier, Saigo (Kazunari Ninomiya), who is a baker in civilian life. With a wife and young child at home, he wants to live rather than die for the Emperor or the Empire of Japan. His idealism is that of a family man, not a fallen hero. The movie is about these principal characters, their interpersonal relations, and the way they see and respond to the prolonged battle when it arrives.Strange to say, but this is not an overly violent movie for a war movie. True, there are constant American bombardments in the background, but the movie centers more on the men, Japanese and American, than the gore of war. The face of the American soldier is rarely seen. But when it is, it is the face of one human to another—for better or worst. ONE SCENE involves a wounded American GI from Oklahoma who is taken into the cave and dies there. When a letter is found on him, the General, translates it to his Japanese soldiers. It sounds just like a letter that they would write home to their family. ANOTHER SCENE involves a Japanese soldier trying to surrender to the Americans. When the Americans don't know what to do with him, one soldier tells them to shoot him.The fact that the movie shows human frailties and fears, as well as the common bond of one man for another, gives us the impression that it is more of an anti-war movie than a war movie. Evidently the screenplay was written using unearthed letters, later discovered in the caves of Mount Suribachi, written by the Japanese men who were there. As you might expect from Clint Eastwood's direction, this is a winner that unfolds slowly and should be relished.