#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The island of Iwo Jima stands between the American military force and the home islands of Japan. Therefore the Imperial Japanese Army is desperate to prevent it from falling into American hands and providing a launching point for an invasion of Japan. General Tadamichi Kuribayashi is given command of the forces on the island and sets out to prepare for the imminent attack. General Kuribayashi, however, does not favor the rigid traditional approach recommended by his subordinates, and resentment and resistance fester among his staff. In the lower echelons, a young soldier, Saigo, a poor baker in civilian life, strives with his friends to survive the harsh regime of the Japanese army itself, all the while knowing that a fierce battle looms. When the American invasion begins, both Kuribayashi and Saigo find strength, honor, courage, and horrors beyond imagination.
Plot: The story of the battle of Iwo Jima between the United States and Imperial Japan during World War II, as told from the perspective of the Japanese who fought it.
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|7.9/10 Votes: 154,589|
|7.5 Votes: 1386 Popularity: 13.864|
Brilliant – A must see movie
Not since Akira Kurosawa’s “Rashômon” has anyone attained such exquisite insight into the human condition, having read “Flags of our Fathers” and growing up, having veterans tell me of their experiences on Iwo Jima,I would look back at them in awe at the fact that they were here sharing their very own story,and many times they to could not believe they were alive.It is amazing to see the sensitivity that Mr.Eastwood imbued into both tales. The scriptwriter Iris Yamashita brought me to tears only at the end of the film with the conundrum we still live with today.Peoples dreams are both sacred and profane and lives are cheap.
Seeing both sides of the story
With “Letters from Iwo Jima” Clint Eastwood completes his diptych presenting the WWII siege and defense of the strategic Japanese island from US and Japanese points of view. Since the two films are meant to comment on each other, it’s misguided of some critics to say Letters is disproportionately superior to its predecessor. We need both. Seeing the war from both sides is radical, even if some of the statements made, especially in the second film, are conventional. And an American film made in Japanese about Japanese soldiers must be pretty unusual.
Apart from the difference that the Japanese were defending a losing position and the well-equipped Americans were on the march, the two films approach their subjects with different aims. Flags of Iwo Jima exposes the ad-campaign falsification of warfare by honing in on the way the iconic flag-planting photo was used. The approach of “Flags” seems especially relevant to Americans in this day of big media manipulation and elective war. There’s also plenty of breathtaking battle footage, especially surrounding the medic played by Ryan Phillippe, but this is an unusual kind of war film, with its ironic contrasts of heroic promotional images with the grim memories of the actual combat.
“Letters” has personal digressions but its main focus is combat throughout. Officers (Ken Watanabe, Tsuyshi Ihara, Shido Nakamujra, Hiroshi Watanabe and others) and footsolodiers (Kazunari Ninomiya, Yuki Matsuzuki and others) are seen from setup on the island to defeat there. The letters come in voiceovers, and a cache of them is seen being found much later, having been buried by the omnipresent Saigo (Ninomiya), a boyish baker with a pregnant wife back at home. Saigo’s importance in the film is a victory for the little guy. He’s not especially brave or anything but his sheer survival leads the general to call him “a good soldier.” Among the higher ups, there’s much attention to conflicting outlooks on how the defense should be mounted and, as defeat approaches, how individual soldiers ought to behave.
Unlike the Americans, the Japanese went to war fully expecting to die, and conditioned to believe it noble to do so. Since their situation is already beginning to appear hopeless, that viewpoint is not unfitting. Ironically they seem far more formidable at the early stages of the American siege seen in Flags than they do in the second film: their emplacements are high and concealed, and the Yanks can’t get at them or even spot them at first. But the Japanese in “Letters from Iwo Jima” see themselves as trapped in “caves,” and when they can’t get reinforcements, they are doomed. The conflict is between traditional soldiers or officers who simply want to stay and die nobly, and the more modern and American-oriented general Kuribayashi (Ken Watanabe) who wants defeated units to regroup in new locations.
“Letters from Iwo Jima” was based in part on a book of found letters, but written in collaboration with Paul Haggis by a Japanese-American, Iris Yamashita. Except for brief dialogue with a doughboy prisoner from Oklahoma, the film is in all in Japanese, but perhaps understandably the screenplay “cheats” on us by weaving American points of view into the story in ways that would be unlikely were this a strictly Japanese production. The lieutenant general has fond memories of time spent in the US, and he chooses to move defeated units to new locations on the island, opposing more traditional officers who want to stay in place and die. Likewise the Joe-soldier character, little baker boy Saigo (played winningly by pop star Ninomiya) is horrified when, convinced that their position is lost, half a dozen members of his unit blow themselves up with grenades in an improvised version of Japanese ritual suicide. He, as the general would wish, moves to a new location. And Saigo is the ultimate survivor. He’s not noble; with his pregnant wife to go back to and support, he’s just the symbol of life going on when war is over.
The strongest moment in the film, perhaps, in taking an unexpected point of view, is when an American soldier does something quite dastardly to one of the Japanese soldiers we’ve come to know. Except for that chilling moment, it would be difficult to forget this is an American movie, however original it is to shoot about the Japanese experience.
In the end, this isn’t really an anti-war diptych, but one that sees war as a profoundly ironic affair full of moral conflict in which duty and principles are out of sync. It’s spelled out at the end of Letters through the somewhat over-explicit, but nonetheless effective moment when the general translates a letter from the Oklahoma prisoner’s mother, that people are people, and Saigo says he’s realized the Yanks weren’t evil brutes as they were told. And war is hell. The soldiers get fed up with it.
But when soldiers behave nobly and bravely, is that an anti-war message? For me a more effective anti-war film is Bernard Wicki’s 1959 “Die Brücke,” whose adolescent German platoon at the end of the war is so clearly canon fodder: not much of a chance for bravery and when there is any it’s foolish. “War is hell” isn’t an original or an especially pacifistic angle. Maybe it’s only by seeing narratives of a particular war in a large context that this stance can emerge clearly. In that sense it was essential for Eastwood to tell the story in English and Japanese and he’s approached an understanding that the creation of an “enemy” is a manipulation of the people by the powers that be. Letters is conventional, but in both films Eastwood has done something original. He may not have achieved greatness, but he has maintained high quality, and the double-barreled approach is impressive and achieves something of a revisionist look at WWII
Original Language en
Runtime 2 hr 21 min (141 min)
Genre Action, Adventure, Drama, History, War
Director Clint Eastwood
Writer Iris Yamashita (screenplay), Iris Yamashita (story), Paul Haggis (story), Tadamichi Kuribayashi (book), Tsuyoko Yoshido (book)
Actors Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryô Kase
Country USA, Japan
Awards Won 1 Oscar. Another 23 wins & 39 nominations.
Production Company Amblin Entertainment, Malpaso Company, Warner Bros., DreamWorks SKG
Sound Mix DTS, SDDS, Dolby Digital
Aspect Ratio 2.39 : 1
Camera Arriflex 235, Panavision C- and E-Series Lenses, Panavision Panaflex Millennium XL, Panavision C- and E-Series Lenses, Panavision Panaflex Platinum, Panavision C- and E-Series Lenses, Sony HVR-Z1U
Laboratory Technicolor Digital Intermediates, Los Angeles (CA), USA (digital intermediate), Technicolor, Hollywood (CA), USA (color) (prints)
Film Length 3,706 m (Portugal, 35 mm), 3,851 m (Sweden)
Negative Format 35 mm (Kodak Vision 250D 5246, Vision 500T 5279), Video (HDV)
Cinematographic Process Digital Intermediate (2K) (master format), HDV (source format), Panavision (anamorphic) (source format)
Printed Film Format 35 mm (Kodak Vision Premier 2393)