Fri, Nov 03, 2006 - Page 16 News List

The horror of war, the torment of victory

Clint Eastwood meditates on the terrible price of fighting even the most necessary of wars

By Manohla Dargis  /  NY TIMES NEWS SERVICE , NEW YORK

In Flags of Our Fathers Clint Eastwood captures the face of war and the human cost it exacts.

PHOTOS COURTESY OF WARNER BROS

It seems hard to believe there is anything left to say about World War II that has not already been stated and restated, chewed, digested and spat out for your consideration and that of the Oscar voters. And yet here, at age 76, is Clint Eastwood saying something new and vital about the war in his new film, and here, too, is this great, gray battleship of a man and a movie icon saying something new and urgent about the uses of war and of the men who fight. Flags of Our Fathers concerns one of the most lethal encounters on that distant battlefield, but make no mistake: this is also a work of its own politically fraught moment.

The film distills much of the material covered in James Bradley and Ron Powers's affecting book of the same title about the raising of the American flag during the battle for Iwo Jima. Bradley's father, John Bradley, nicknamed Doc and played by an effectively restrained Ryan Phillippe, was one of six men who helped plant the flag (it was the second planted that day) on the island's highest point on the fifth day of the monthlong American offensive. An Associated Press photographer, Joe Rosenthal, immortalized the moment, and American politicians seized the day, sending the three surviving flag raisers — Doc, Ira Hayes (Adam Beach, delivering heartbreak by the payload) and Rene Gagnon (Jesse Bradford) — on a hugely successful war-bond drive.

Collectively hailed as heroes from sea to shining sea, Rene embraced the spotlight, Doc settled into stoic unhappiness, while Ira, a Pima Indian shattered by Iwo Jima and its dead, sobbed and drank himself into oblivion. The efforts of Doc's adult son (Tom McCarthy) to tell his father's story years later give the film its scaffolding, but it is Beach's Ira, with his open face and vulnerability, who haunts it. Tears mixing with booze, he floods his scenes with raw emotion that serves as a rebuke to gung-ho fictions like Sands of Iwo Jima, a 1949 bad joke in which John Wayne hands an American flag to the real Ira, Doc and Rene so they can raise Old Glory once more, this time over the sands of Southern California.

Film Notes:

Flags of Our FathersDirected by Clint EastwoodStarring: Ryan Phillippe (John Bradley), Jesse Bradford (Rene Gagnon), Adam Beach (Ira Hayes), John Benjamin Hickey (Keyes Beech), John Slattery (Bud Gurber), Barry Pepper (Mike Strank), Jamie Bell (Ralph Ignatowski), Paul Walker (Hank Hansen) and Robert Patrick (Colonel Chandler Johnson).Running time: 132 minutesTaiwan Release: Today


Eastwood's cinematic deconstruction takes a considerably darker view of the historical record. The Air Force had repeatedly bombed Iwo Jima before the American landing on Feb. 19, 1945; by D-Day, barely a blade of grass survived, even as more than 20,000 Japanese soldiers remained dug in. To replicate that scorched earth, Eastwood drains much of the color from the film's already muted palette, so much so that many of the scenes on the island look as if they were shot in black and white. It seems impossible that anything living could survive long in this charred, spooky place, and it isn't long after the invasion that American bodies begin piling up amid the orange-red explosions and dull-red sprays of blood.

During these anxious moments, Eastwood characteristically keeps his sights (and ears) on the troops and the choreographed chaos of their movements; the focus remains on them, not the filmmaking. When the men hit the shore, the cameras stick close to them, moving and then, during a sudden hailstorm of bullets, running alongside the men as if similarly searching for cover. Despite the occasional bird's-eye view that underscores the staggering scale of the operation — the hundreds of boats hugging the coast, the thousands of men dotting the land — the filmmaking retains a devastating intimacy, as in a quiet shot of dead soldiers lying facedown on the beach, the water under their bodies receding as if it were blood.

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