Clint Eastwood revisits familiar territory with LETTERS FROM IWO JIMA, a companion piece to his critically-acclaimed World War II drama FLAGS OF OUR FATHERS. Where the two films... more
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an intimate epic with much to say about war and the nature of heroism in America. Based on the non-fiction bestseller by James Bradley (with Ron Powers), and adapted by Million Dollar Baby screenwriter Paul Haggis (Jarhead screenwriter William Broyles Jr. wrote an earlier draft that was abandoned when Eastwood signed on to direct), this isn't so much a conventional war movie as it is a thought-provoking meditation on our collective need for heroes, even at the expense of those we deem heroic. In telling the story of the six men (five Marines, one Navy medic) who raised the American flag of victory on the battle-ravaged Japanese island of Iwo Jima on February 23rd, 1945, Eastwood takes us deep into the horror of war (in painstakingly authentic Iwo Jima battle scenes) while emphasizing how three of the surviving flag-raisers (played by Adam Beach, Ryan Phillippe, and Jesse Bradford) became reluctant celebrities - and resentful pawns in a wartime publicity campaign - after their flag-raising was immortalized by Associated Press photographer Joe Rosenthal in the most famous photograph in military history. As the surviving flag-raisers reluctantly play their public roles as "the heroes of Iwo Jima" during an exhausting (but clearly necessary) wartime bond rally tour, Flags of Our Fathers evolves into a pointed study of battlefield valor and misplaced idolatry, incorporating subtle comment on the bogus nature of celebrity, the trauma of battle, and the true meaning of heroism in wartime. Wisely avoiding any direct parallels to contemporary history, Eastwood allows us to draw our own conclusions about the Iwo Jima flag-raisers and how their postwar histories (both noble and tragic) simultaneously illustrate the hazards of exploited celebrity and society's genuine need for admirable role models during times of national crisis. Flags of Our Fathers defies the expectations of those seeking a more straightforward war-action drama, but it's richly satisfying, impeccably crafted film that manages to be genuinely patriotic (in celebrating the camaraderie of soldiers in battle) while dramatising the ultimate futility of war. Eastwood's follow-up film, Letters from Iwo Jima, examines the Iwo Jima conflict from the Japanese perspective. Critically hailed as an instant classic, Clint Eastwood's Letters from Iwo Jima is a masterwork of uncommon humanity and a harrowing, unforgettable indictment of the horrors of war. In an unprecedented demonstration of worldly citizenship, Eastwood (from a spare, tightly focused screenplay by first-time screenwriter Iris Yamashita) has crafted a truly Japanese film, with Japanese dialogue (with subtitles) and filmed in a contemplative Japanese style, serving as both complement and counterpoint to Eastwood's previously released companion film Flags of Our Fathers. Where the earlier film employed a complex non-linear structure and epic-scale production values to dramatise one of the bloodiest battles of World War II and its traumatic impact on American soldiers, Letters reveals the battle of Iwo Jima from the tunnel- and cave-dwelling perspective of the Japanese, hopelessly outnumbered, deprived of reinforcements, and doomed to die in inevitable defeat. While maintaining many of the traditions of the conventional war drama, Eastwood extends his sympathetic touch to humanise "the enemy," revealing the internal and external conflicts of soldiers and officers alike, forced by circumstance to sacrifice themselves or defend their honour against insurmountable odds. From the weary reluctance of a young recruit named Saigo (Kazunari Ninomiya) to the dignified yet desperately anguished strategy of Japanese commander Tadamichi Kuribayashi (played by Oscar-nominated The Last Samurai costar Ken Watanabe), whose letters home inspired the film's title and present-day framing device, Letters from Iwo Jima (which conveys the bleakness of battle through a near-total absence of colour) steadfastly avoids the glorification of war while paying honorable tribute to ill-fated men who can only dream of the comforts of home. --Jeff Shannon
an intimate epic with much to say about war and the nature of heroism in America. Based on the non-fiction bestseller by James Bradley (with Ron Powers), and adapted by Million Dollar Baby screenwriter Paul Haggis (Jarhead screenwriter William Broyles Jr. wrote an earlier draft that was abandoned when Eastwood signed on to direct), this isn't so much a conventional war movie as it is a thought-provoking meditation on our collective need for heroes, even at the expense of those we deem heroic. In telling the story of the six men (five Marines, one Navy medic) who raised the American flag of victory on the battle-ravaged Japanese island of Iwo Jima on February 23rd, 1945, Eastwood takes us deep into the horror of war (in painstakingly authentic Iwo Jima battle scenes) while emphasizing how three of the surviving flag-raisers (played by Adam Beach, Ryan Phillippe, and Jesse Bradford) became reluctant celebrities - and resentful pawns in a wartime publicity campaign - after their flag-raising was immortalized by Associated Press photographer Joe Rosenthal in the most famous photograph in military history. As the surviving flag-raisers reluctantly play their public roles as "the heroes of Iwo Jima" during an exhausting (but clearly necessary) wartime bond rally tour, Flags of Our Fathers evolves into a pointed study of battlefield valor and misplaced idolatry, incorporating subtle comment on the bogus nature of celebrity, the trauma of battle, and the true meaning of heroism in wartime. Wisely avoiding any direct parallels to contemporary history, Eastwood allows us to draw our own conclusions about the Iwo Jima flag-raisers and how their postwar histories (both noble and tragic) simultaneously illustrate the hazards of exploited celebrity and society's genuine need for admirable role models during times of national crisis. Flags of Our Fathers defies the expectations of those seeking a more straightforward war-action drama, but it's richly satisfying, impeccably crafted film that manages to be genuinely patriotic (in celebrating the camaraderie of soldiers in battle) while dramatising the ultimate futility of war. Eastwood's follow-up film, Letters from Iwo Jima, examines the Iwo Jima conflict from the Japanese perspective. Critically hailed as an instant classic, Clint Eastwood's Letters from Iwo Jima is a masterwork of uncommon humanity and a harrowing, unforgettable indictment of the horrors of war. In an unprecedented demonstration of worldly citizenship, Eastwood (from a spare, tightly focused screenplay by first-time screenwriter Iris Yamashita) has crafted a truly Japanese film, with Japanese dialogue (with subtitles) and filmed in a contemplative Japanese style, serving as both complement and counterpoint to Eastwood's previously released companion film Flags of Our Fathers. Where the earlier film employed a complex non-linear structure and epic-scale production values to dramatise one of the bloodiest battles of World War II and its traumatic impact on American soldiers, Letters reveals the battle of Iwo Jima from the tunnel- and cave-dwelling perspective of the Japanese, hopelessly outnumbered, deprived of reinforcements, and doomed to die in inevitable defeat. While maintaining many of the traditions of the conventional war drama, Eastwood extends his sympathetic touch to humanise "the enemy," revealing the internal and external conflicts of soldiers and officers alike, forced by circumstance to sacrifice themselves or defend their honour against insurmountable odds. From the weary reluctance of a young recruit named Saigo (Kazunari Ninomiya) to the dignified yet desperately anguished strategy of Japanese commander Tadamichi Kuribayashi (played by Oscar-nominated The Last Samurai costar Ken Watanabe), whose letters home inspired the film's title and present-day framing device, Letters from Iwo Jima (which conveys the bleakness of battle through a near-total absence of colour) steadfastly avoids the glorification of war while paying honorable tribute to ill-fated men who can only dream of the comforts of home. --Jeff Shannon
an intimate epic with much to say about war and the nature of heroism in America. Based on the non-fiction bestseller by James Bradley (with Ron Powers), and adapted by Million Dollar Baby screenwriter Paul Haggis (Jarhead screenwriter William Broyles Jr. wrote an earlier draft that was abandoned when Eastwood signed on to direct), this isn't so much a conventional war movie as it is a thought-provoking meditation on our collective need for heroes, even at the expense of those we deem heroic. In telling the story of the six men (five Marines, one Navy medic) who raised the American flag of victory on the battle-ravaged Japanese island of Iwo Jima on February 23rd, 1945, Eastwood takes us deep into the horror of war (in painstakingly authentic Iwo Jima battle scenes) while emphasizing how three of the surviving flag-raisers (played by Adam Beach, Ryan Phillippe, and Jesse Bradford) became reluctant celebrities - and resentful pawns in a wartime publicity campaign - after their flag-raising was immortalized by Associated Press photographer Joe Rosenthal in the most famous photograph in military history. As the surviving flag-raisers reluctantly play their public roles as "the heroes of Iwo Jima" during an exhausting (but clearly necessary) wartime bond rally tour, Flags of Our Fathers evolves into a pointed study of battlefield valor and misplaced idolatry, incorporating subtle comment on the bogus nature of celebrity, the trauma of battle, and the true meaning of heroism in wartime. Wisely avoiding any direct parallels to contemporary history, Eastwood allows us to draw our own conclusions about the Iwo Jima flag-raisers and how their postwar histories (both noble and tragic) simultaneously illustrate the hazards of exploited celebrity and society's genuine need for admirable role models during times of national crisis. Flags of Our Fathers defies the expectations of those seeking a more straightforward war-action drama, but it's richly satisfying, impeccably crafted film that manages to be genuinely patriotic (in celebrating the camaraderie of soldiers in battle) while dramatising the ultimate futility of war. Eastwood's follow-up film, Letters from Iwo Jima, examines the Iwo Jima conflict from the Japanese perspective. Critically hailed as an instant classic, Clint Eastwood's Letters from Iwo Jima is a masterwork of uncommon humanity and a harrowing, unforgettable indictment of the horrors of war. In an unprecedented demonstration of worldly citizenship, Eastwood (from a spare, tightly focused screenplay by first-time screenwriter Iris Yamashita) has crafted a truly Japanese film, with Japanese dialogue (with subtitles) and filmed in a contemplative Japanese style, serving as both complement and counterpoint to Eastwood's previously released companion film Flags of Our Fathers. Where the earlier film employed a complex non-linear structure and epic-scale production values to dramatise one of the bloodiest battles of World War II and its traumatic impact on American soldiers, Letters reveals the battle of Iwo Jima from the tunnel- and cave-dwelling perspective of the Japanese, hopelessly outnumbered, deprived of reinforcements, and doomed to die in inevitable defeat. While maintaining many of the traditions of the conventional war drama, Eastwood extends his sympathetic touch to humanise "the enemy," revealing the internal and external conflicts of soldiers and officers alike, forced by circumstance to sacrifice themselves or defend their honour against insurmountable odds. From the weary reluctance of a young recruit named Saigo (Kazunari Ninomiya) to the dignified yet desperately anguished strategy of Japanese commander Tadamichi Kuribayashi (played by Oscar-nominated The Last Samurai costar Ken Watanabe), whose letters home inspired the film's title and present-day framing device, Letters from Iwo Jima (which conveys the bleakness of battle through a near-total absence of colour) steadfastly avoids the glorification of war while paying honorable tribute to ill-fated men who can only dream of the comforts of home. --Jeff Shannon
an intimate epic with much to say about war and the nature of heroism in America. Based on the non-fiction bestseller by James Bradley (with Ron Powers), and adapted by Million Dollar Baby screenwriter Paul Haggis (Jarhead screenwriter William Broyles Jr. wrote an earlier draft that was abandoned when Eastwood signed on to direct), this isn't so much a conventional war movie as it is a thought-provoking meditation on our collective need for heroes, even at the expense of those we deem heroic. In telling the story of the six men (five Marines, one Navy medic) who raised the American flag of victory on the battle-ravaged Japanese island of Iwo Jima on February 23rd, 1945, Eastwood takes us deep into the horror of war (in painstakingly authentic Iwo Jima battle scenes) while emphasizing how three of the surviving flag-raisers (played by Adam Beach, Ryan Phillippe, and Jesse Bradford) became reluctant celebrities - and resentful pawns in a wartime publicity campaign - after their flag-raising was immortalized by Associated Press photographer Joe Rosenthal in the most famous photograph in military history. As the surviving flag-raisers reluctantly play their public roles as "the heroes of Iwo Jima" during an exhausting (but clearly necessary) wartime bond rally tour, Flags of Our Fathers evolves into a pointed study of battlefield valor and misplaced idolatry, incorporating subtle comment on the bogus nature of celebrity, the trauma of battle, and the true meaning of heroism in wartime. Wisely avoiding any direct parallels to contemporary history, Eastwood allows us to draw our own conclusions about the Iwo Jima flag-raisers and how their postwar histories (both noble and tragic) simultaneously illustrate the hazards of exploited celebrity and society's genuine need for admirable role models during times of national crisis. Flags of Our Fathers defies the expectations of those seeking a more straightforward war-action drama, but it's richly satisfying, impeccably crafted film that manages to be genuinely patriotic (in celebrating the camaraderie of soldiers in battle) while dramatising the ultimate futility of war. Eastwood's follow-up film, Letters from Iwo Jima, examines the Iwo Jima conflict from the Japanese perspective. Critically hailed as an instant classic, Clint Eastwood's Letters from Iwo Jima is a masterwork of uncommon humanity and a harrowing, unforgettable indictment of the horrors of war. In an unprecedented demonstration of worldly citizenship, Eastwood (from a spare, tightly focused screenplay by first-time screenwriter Iris Yamashita) has crafted a truly Japanese film, with Japanese dialogue (with subtitles) and filmed in a contemplative Japanese style, serving as both complement and counterpoint to Eastwood's previously released companion film Flags of Our Fathers. Where the earlier film employed a complex non-linear structure and epic-scale production values to dramatise one of the bloodiest battles of World War II and its traumatic impact on American soldiers, Letters reveals the battle of Iwo Jima from the tunnel- and cave-dwelling perspective of the Japanese, hopelessly outnumbered, deprived of reinforcements, and doomed to die in inevitable defeat. While maintaining many of the traditions of the conventional war drama, Eastwood extends his sympathetic touch to humanise "the enemy," revealing the internal and external conflicts of soldiers and officers alike, forced by circumstance to sacrifice themselves or defend their honour against insurmountable odds. From the weary reluctance of a young recruit named Saigo (Kazunari Ninomiya) to the dignified yet desperately anguished strategy of Japanese commander Tadamichi Kuribayashi (played by Oscar-nominated The Last Samurai costar Ken Watanabe), whose letters home inspired the film's title and present-day framing device, Letters from Iwo Jima (which conveys the bleakness of battle through a near-total absence of colour) steadfastly avoids the glorification of war while paying honorable tribute to ill-fated men who can only dream of the comforts of home. --Jeff Shannon
Advantages: Two Truly Great War Films Disadvantages: Theres Only Two
Flags of our Fathers and Letters from Iwo Jima single disc editions double pack with no special features.
In 1944 the second World War was entering its final act and the forces of the Empire of Japan were being defeated and hemmed in. After losses at Saipan and the Marianas the United States directed its forces for the first time at a dominion of Japans homeland-the grey, dusty island of Iwo Jima.
The Japanese defenders anticipating invasion began ... ...battle from both sides.
Flags of Our Fathers at its centre unravels the events surrounding the iconic photograph of a group of marines and sailors raising the stars and stripes on a tip of Mt Suribache and the fall out in human consequences of those that did or maybe did take part as the U.S. media and the military political machine drew them in out of the front line and compelled them on a bond selling tour to boost a U.S. war fund grasping for ...
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Flags Of Our Fathers/Letters From Iwo Jima - Battle For Iwo Jima Collection (Collector's Edition)
Main specs
Actor(s): Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase, Shido Nakamura, Hiroshi Watanabe, Ryan Phillippe, Jesse Bradford, Adam Beach, John Benjamin Hickey, John Slattery, Barry Pepper, Jamie Bell, Paul Walker, Robert Patrick, Joseph Cross
Director(s): Clint Eastwood
Genre: War
Classification: 15 years and over
Video Category: Feature Film
Country Of Origin: United States of America
Release details
DVD Region: Region 2 (Europe)
Studio(s): WARNER HOME VIDEO; CINRAM LOGISTICS
Languages
Main Language: English\Japanese
Technical information
Special Features: Interactive menu
Sound: Dolby Digital
DVD Description
Clint Eastwood revisits familiar territory with LETTERS FROM IWO JIMA, a companion piece to his critically-acclaimed World War II drama FLAGS OF OUR FATHERS. Where the two films differ is in their version of events; FLAGS… is told from a predominantly American point-of-view, whereas LETTERS… offers the Japanese perspective. This set contains both films. This set contains both films.
Award information
OSCAR: Best Director 2007 (Clint Eastwood)
OSCAR: Best Screenplay Written Directly For The Screen 2007 (Iris Yamashita)
Professional reviews
Review: An intelligent and sincere movie (BBC, 12/06/2007)
Eastwood remains the most astringent American filmmaker around (Empire, 12/06/2007)
Eastwood's films grow in artistic vision and emotional wallop... A thoughtfully assembled package that will satisfy both novices and students of this still-vivid, moving chapter in history (Entertainment Weekly, 12/06/2007)
Eastwood and his cinematographer Tom Stern have done a superb and possibly unique job in showing both sides of this dreadful battle (The Independent, 12/06/2007)
An impressive work of compassionate imagination (Time Out, 12/06/2007)
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