Letters From Iwo Jima

From the very beginning of Clint Eastwood’s “Letters From Iwo Jima” we feel as though we are watching the actual soldiers in World War II as they fight the battle for the small island of Iwo Jima. It could be argued that with all war films this is the sought after effect. Sadly with most films in this genre the audience still has that underlying realization that they are watching a reproduction of events. We’re looking at a painting rather than a photograph.
“Saving Private Ryan” was another film that achieved this sort of connection with the audience. In that case, though, it had much to do with the horrific sequences of war that boldly attempted to show combat exactly as it was.
Clint Eastwood, one of the few living actors who is a bona fide Hollywood legend, takes a daring path with this movie by setting it up in a very simplistic way. It opens with a very short scene set in 2005 and then jumps back to the 1940’s as the Japanese forces prepare for the coming assault on their island of Iwo Jima.
The biggest risk is that the Audience might become detached from the film in the slower first half leading up to the battle. Some might argue that Eastwood’s companion film, “Flags of Our Fathers” could be a more elaborate set up, and this is true. However, for the people seeing “Letters” alone they must be drawn in by virtue of this movie alone.
But as previously stated, from the very beginning the audience feels the film’s authenticity. Does this mean that this seemingly by-the-books war film rises above the staples of the genre while apparently embracing them? Yes, it does.
The simple fact is that Eastwood is a director of such immense talent that he can take even the familiar war drama and create a unique and distinguished movie. He took the hometown crime drama and recreated it with “Mystic River.” And he practically rewrote the book on boxing movies (after five “Rocky” films this had actually been deemed strictly impossible) with the powerful “Million Dollar Baby.”
It is no surprise that “Letters From Iwo Jima,” like “Mystic River” and “Million Dollar Baby,” received a nomination for Best Picture. Though it did not win, it was worthy of the nomination as it is destined to become one of the classic war films for generations to come.
In a very wise directing choice, Eastwood only chooses to portray events off of the island when they are directly telling the background stories of the characters. These stories, as all background stories ought to, help the audience understand the choices made by characters and the reasons they are who they are. There are no scenes depicting the state of affairs in Tokyo or Washington D.C. There are no tear inducing montages of family members waiting hopelessly and helplessly for their loved ones in the battle.
We feel as if we are stuck there on the island with men who understand that they absolutely will be fighting to the death, no questions asked, and suicide before surrender. The Japanese mindset was so different than that of Americans during World War II and this movie understands that but more importantly respects it. The idea of honor and country above all else is never mocked, though it is presented in a way that demands its consideration.
The saddest part of the film comes as a group of Japanese soldiers reads a letter found on the dead body of an American. What they hope might be some sort of reveling battle plans is a letter from a mother back home. She writes of the family dog and life at home, reminds her son to do what is right, and wishes him a safe return home. One of the Japanese soldiers remarks that this man’s letter is the same as the letters he receives from his family back home. This scenario, that looks so sickly cliché when on the page, is presented so effectively it touches the viewer’s heart in a much deeper way than the violence of the battles.
Gray, black and blue are the colors of the film. Because of this, when the screen is ignited by the fiery explosions of grenades, bombs, or flamethrowers, the jarring contrast of colors accentuates the horror of it all.
The acting of everyone involved is commendable, specifically Kazunari Ninomiya as the frightened young baker-turned-soldier, Saigo, who wants only to find his way home to his wife and newborn child.
After so many great films it seems that everyone might grow tired of praising the talent and passion of Clint Eastwood. However, it hasn’t happened yet. Once again he has created a visual poem of such gravitas and poignancy it has the power to penetrate all preconceived notions and set a whole new bar for the genre at hand.

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