Roy's Movie Review: Letters from Iwo Jima (3/6/07)
Posted: Tue Mar 06, 2007 4:11 am
Letters, is a fine film and with each new movie, Clint Eastwood moves closer to becoming as legendary for his direction work behind the camera as for his style of acting in front of it. I have enjoyed a number of his films in the past 15 years, while others have left me empty. I avoided reading about this movie once I had heard of Flags of Our Fathers, his Iwo Jima propaganda story “prequel” to this film, which I had no desire to see … until now.
This flick was told from a unique point of view and sand point. As American’s we’ve really never seen a Pacific theater war film told from the “enemy’s” perspective. Not only does Letters walk a mile in their boots, but the Japanese language based dialogue goes the extra mile to provide what feels like historical accuracy. I have my doubts about that, but we’ll get there soon enough.
This is a war movie where they don’t ALL die in the end, although make no mistake about it, the Japanese who were out manned 5:1 died in vast numbers (about 20,000 vs. about 7,000 for the American troops in just over a month’s time). What I liked about the way Clint handled the brutal scenes, is that he did not go too far. Not that I shy away from violence but when a director can provide all of the emotion without excessive gore, given today’s penchant for bullet riddled bodies with fountains of blood using battery triggered “blood packs” … then the director rightfully deserves their due. This was the case in Letters, even though there were some chilling and brutal moments. I did not find the blood and guts over the top at all; and in fact, given the material, there was a great deal of restraint employed.
We arrive on the island while the Japanese were digging in deep, in expectation of the shit storm that they knew was coming. This tiny atoll memorialized for all time by a single photo, was depicted in this flick as vital as Custer’s Last Stand, in protecting the mainland of Japan. The Japanese officers are at first seemingly incapable of making sound decisions in terms of militaristic stratagems. Then along comes the suave leader Kuribayashi and change is swift and unpopular, yet working within the confines of his limited resources, tactically correct.
Kuribayashi is played by the fantastic actor Ken Watanabe. I remember watching him in Tampopo, (which I’ve seen a dozen times and still enjoy) well over a decade ago and more recently in the beautifully shot Memoirs of a Geisha. In Letters his strength as the honorable, traditional and unwavering leader of the men on Iwo Jima is palpable. He realizes from day one that this 5-mile short island will be the death of him. When he learns mid-flick that the government no longer has the resolve nor power to provide him with the tools to be successful, he takes it in stride as one would expect from an honorable Japanese officer. Baron Nishi who is fresh from his Equestrian medal at the LA Olympics, shows up on horseback on Iwo Jima and he trots up to Kuribayashi and it is apparent the two know one another. Nishi is nothing more than a photo op or so it seems; but when the time comes, he too is a fearless leader in battle. At one point he alerts his senior officer to some bad news which would break the back of most other Lt. Generals. At this poignant and telling juncture, Kuribayashi shows his meddle and Watanabe his acting chops
The other major character is Saigo, a baker and family man with a pregnant wife who is stricken with sorrow the day he is selected to serve on Iwo Jima. She is certain of his demise and given the news about how the war effort is going, he realizes the dire situation he is being thrown into. Sadly he has little choice but to serve his Emperor with honor. The “Letters” are his to his wife, told in a voice-over style … but there are letters to and from others … most often Kuribayashi, lovingly written to his wife.
There is one awkward scene which should have been left on the cutting room floor (imo) … where Clint serves to further humanize the Japanese soldier, by showing their tolerance when capturing an American soldier. This goes against everything we’ve ever been shown by Hollywood re: WW2 films and their depiction of the Japanese vs American soldiers. The ethnic cartoonish propaganda in those films is starkly in contrast with this scene and whether accurate or not (and I seriously doubt it) I had a real hard time swallowing this sugar coated pill. In contrast, we see how the American boys treat their captives and I could not help thinking that Eastwood was trying to ham-fist a direct political correlation with Abu Graib. The Letter from the Oaky (not wine related) boy’s mom, takes on greater meaning shortly thereafter.
Back to Saigo, who is portrayed by a very fine actor (name?). He emotes the pain of his dilemma, a young man torn between duty and the love of his family and all he wants to do is survive. A good part of the movie emanates through the Saigo character. His face reads like a book and we understand what the grunt on the ground must deal with when realizing that the officers, who lead them, have no clue. His face forebodes the stark realization that his sheer survival is in serious jeopardy when his immediate officer gives an order to the surviving remnants of his division to commit suicide rather than be slaughtered by the enemy. Saigo watches in horror but does not see this as his destiny and we watch his character with increased interest, as the plot unfolds to its conclusion shortly thereafter.
The brilliant screenplay may have been the best of any in this past year’s films. The dialogue only understandable in the handful of English language sentences and in English subtitles that accompany the spoken Japanese … seems at all times, to ring true. The use of coloration or lack thereof, except blood red has been done enough times before, that it no longer seems as striking, as it did in Schindler’s List. However, the black and white filming, with a soft almost sepia tone, was effective nonetheless in providing the feel of historical perspective.
The bloodbath on Mount Suribachi almost makes the audience side with the Japanese, with kudos to Clint for this manipulation which works. It is interesting to look at this movie filmed in a raw yet sentimental almost forgiving style as juxtaposed against the flicks which show the Japanese soldiers as the aggressors, brutal in their thirst for bloodletting. Equally telling is the unmistakable parallel to the current Iraqi war and the contingent of US and allied soldiers on the ground without the numbers or equipment needed to be successful, no matter how courageous. While driving home, I could not help but think of some filmmaker in a few decades, aiming the camera back at the American’s in a similar fashion, shot from the Iraqi soldier’s perspective.
This flick was told from a unique point of view and sand point. As American’s we’ve really never seen a Pacific theater war film told from the “enemy’s” perspective. Not only does Letters walk a mile in their boots, but the Japanese language based dialogue goes the extra mile to provide what feels like historical accuracy. I have my doubts about that, but we’ll get there soon enough.
This is a war movie where they don’t ALL die in the end, although make no mistake about it, the Japanese who were out manned 5:1 died in vast numbers (about 20,000 vs. about 7,000 for the American troops in just over a month’s time). What I liked about the way Clint handled the brutal scenes, is that he did not go too far. Not that I shy away from violence but when a director can provide all of the emotion without excessive gore, given today’s penchant for bullet riddled bodies with fountains of blood using battery triggered “blood packs” … then the director rightfully deserves their due. This was the case in Letters, even though there were some chilling and brutal moments. I did not find the blood and guts over the top at all; and in fact, given the material, there was a great deal of restraint employed.
We arrive on the island while the Japanese were digging in deep, in expectation of the shit storm that they knew was coming. This tiny atoll memorialized for all time by a single photo, was depicted in this flick as vital as Custer’s Last Stand, in protecting the mainland of Japan. The Japanese officers are at first seemingly incapable of making sound decisions in terms of militaristic stratagems. Then along comes the suave leader Kuribayashi and change is swift and unpopular, yet working within the confines of his limited resources, tactically correct.
Kuribayashi is played by the fantastic actor Ken Watanabe. I remember watching him in Tampopo, (which I’ve seen a dozen times and still enjoy) well over a decade ago and more recently in the beautifully shot Memoirs of a Geisha. In Letters his strength as the honorable, traditional and unwavering leader of the men on Iwo Jima is palpable. He realizes from day one that this 5-mile short island will be the death of him. When he learns mid-flick that the government no longer has the resolve nor power to provide him with the tools to be successful, he takes it in stride as one would expect from an honorable Japanese officer. Baron Nishi who is fresh from his Equestrian medal at the LA Olympics, shows up on horseback on Iwo Jima and he trots up to Kuribayashi and it is apparent the two know one another. Nishi is nothing more than a photo op or so it seems; but when the time comes, he too is a fearless leader in battle. At one point he alerts his senior officer to some bad news which would break the back of most other Lt. Generals. At this poignant and telling juncture, Kuribayashi shows his meddle and Watanabe his acting chops
The other major character is Saigo, a baker and family man with a pregnant wife who is stricken with sorrow the day he is selected to serve on Iwo Jima. She is certain of his demise and given the news about how the war effort is going, he realizes the dire situation he is being thrown into. Sadly he has little choice but to serve his Emperor with honor. The “Letters” are his to his wife, told in a voice-over style … but there are letters to and from others … most often Kuribayashi, lovingly written to his wife.
There is one awkward scene which should have been left on the cutting room floor (imo) … where Clint serves to further humanize the Japanese soldier, by showing their tolerance when capturing an American soldier. This goes against everything we’ve ever been shown by Hollywood re: WW2 films and their depiction of the Japanese vs American soldiers. The ethnic cartoonish propaganda in those films is starkly in contrast with this scene and whether accurate or not (and I seriously doubt it) I had a real hard time swallowing this sugar coated pill. In contrast, we see how the American boys treat their captives and I could not help thinking that Eastwood was trying to ham-fist a direct political correlation with Abu Graib. The Letter from the Oaky (not wine related) boy’s mom, takes on greater meaning shortly thereafter.
Back to Saigo, who is portrayed by a very fine actor (name?). He emotes the pain of his dilemma, a young man torn between duty and the love of his family and all he wants to do is survive. A good part of the movie emanates through the Saigo character. His face reads like a book and we understand what the grunt on the ground must deal with when realizing that the officers, who lead them, have no clue. His face forebodes the stark realization that his sheer survival is in serious jeopardy when his immediate officer gives an order to the surviving remnants of his division to commit suicide rather than be slaughtered by the enemy. Saigo watches in horror but does not see this as his destiny and we watch his character with increased interest, as the plot unfolds to its conclusion shortly thereafter.
The brilliant screenplay may have been the best of any in this past year’s films. The dialogue only understandable in the handful of English language sentences and in English subtitles that accompany the spoken Japanese … seems at all times, to ring true. The use of coloration or lack thereof, except blood red has been done enough times before, that it no longer seems as striking, as it did in Schindler’s List. However, the black and white filming, with a soft almost sepia tone, was effective nonetheless in providing the feel of historical perspective.
The bloodbath on Mount Suribachi almost makes the audience side with the Japanese, with kudos to Clint for this manipulation which works. It is interesting to look at this movie filmed in a raw yet sentimental almost forgiving style as juxtaposed against the flicks which show the Japanese soldiers as the aggressors, brutal in their thirst for bloodletting. Equally telling is the unmistakable parallel to the current Iraqi war and the contingent of US and allied soldiers on the ground without the numbers or equipment needed to be successful, no matter how courageous. While driving home, I could not help but think of some filmmaker in a few decades, aiming the camera back at the American’s in a similar fashion, shot from the Iraqi soldier’s perspective.
The reason what the PM said affects me is that relations of the asian races in America has gotten better...I would hate for that to be ruined by a right wing Govt that doesn't speak for its people!
