1. Army of Shadows(Jean-Pierre Melville, France)
2. United 93 (Paul Greengrass, U.K.-USA)
5. Happy Feet (George Miller, USA)
6. Inland Empire (David Lynch, USA)
7. Climates (Nuri Bilge Ceylan, Turkey-France)
8. Children of Men (Alfanso Cuarón, U.K.-USA)
9. A Prairie Home Companion (Robert Altman, USA)
10. Talladega Nights: The Ballad of Ricky Bobby(Adam McKay, USA)
On an early December afternoon at the offices of Malpaso Productions, Clint Eastwood’s four Academy Awards have been placed into thick velvet carrying bags, while that famous poncho—the one Eastwood donned for the entirety of Sergio Leone’s Dollars trilogy—is being carefully loaded into a large shipping box. But that doesn’t mean that Eastwood himself is packing it in. The memorabilia in question is merely being loaned out to the California Museum in Sacramento, where Eastwood has just been inducted into the California Hall of Fame (part of an inaugural class that includes Cesar Chavez, John Muir and Ronald Reagan). “Will I ride off into the sunset? Maybe. Will I be dragged off kicking and screaming? Probably,” he told me back in 2004 when I came here to interview him just prior to the release of Million Dollar Baby. And in the full spirit of those words, he’s spent much of the intervening two years devoted to the biggest, most ambitious project of his six-decade career.
That project was to have been a single film, Flags of Our Fathers, about the American soldiers who fought at the Battle of Iwo Jima—one of the bloodiest in all of World War II—and how they later became unwitting cogs in the war effort’s well-oiled propaganda machine. Then, during pre-production, Eastwood had a thought: What about the Japanese troops who fought so bravely to defend those eight square miles of volcanic terrain, 20 thousand of whom died in the process? And the more Eastwood thought about that, the more he couldn’t stop thinking about it, until he found himself at the helm of a second Iwo Jima movie, this time told from the other side of the frontlines, filmed with an all-Japanese cast and all-Japanese dialogue. Now, with Letters From Iwo Jima opening wide, Eastwood once again sits on a dark-horse Oscar contender that it’s hard to imagine any other American filmmaker (save perhaps Steven Spielberg, who served as Eastwood’s producer on the movie) managing to get made.
“I just thought it would be good to tell the whole story,” says Eastwood with his trademark nonchalance, adding that he was particularly drawn to the figure of Lieutenant General Tadamichi Kuribayashi (played in Letters by Ken Watanabe), the Japanese commander on Iwo Jima who, prior to the war, traveled extensively throughout the Americas, logging time as a military attaché in Washington and as a student at Harvard. Kuribayashi’s lyrical dispatches back to his wife, daughter and son, published in the book Picture Letters From Commander in Chief, provided the connective tissue for the Letters screenplay (by first-time Japanese-American screenwriter Iris Yamashita). “The book doesn’t say very much—it’s just his letters home and these little sketches he made of himself and the people he saw,” Eastwood says. “But you can see that he was a very concerned father, worried about his kids, their academics, their spelling, telling them he’s going to fix certain things when he gets home, that he can’t wait to see them, that he wishes he was there. All the things that a normal husband and father would do, anywhere in the world.”
That humanizing view of “the enemy” is central to Letters, which, like Flags, unfolds from the perspective of the low-ranking conscripts Eastwood calls “young men asked to live a very short lifetime.” As the war in Iraq nears the start of its fifth year amid talk of a renewed military draft, Eastwood, who tends to be terse with regard to his films’ thematic implications, says the contemporary parallels aren’t lost on him. But with their reciprocal depictions of wartime rhetoric and thoughtless atrocities committed against POWs, Flags and Letters seem less an anti-war diptych than a troubled inquiry into the moral relativism of the battlefield. As handily as Unforgiven muddied (literally and figuratively) the mythology of the classical Western, Eastwood’s latest films shatter the clear-cut notions of heroism and villainy ingrained in almost every Hollywood WWII movie, up through and including Saving Private Ryan.
“At some point, you have to get real about things,” Eastwood says. “That may not be appealing to audiences who want a kind of escapism, but these pictures aren’t necessarily for the escapist.” He’s right: the audience did not embrace Flags, which has performed well-below Eastwood’s usually robust business since its release in mid-October. Eastwood admits he’s disappointed, but says he doesn’t have anything left to prove to anyone, save for himself. “All you can say in the end is, ‘Do I like it?’ Yes. It’s what I intended to do, and because of that, I’m happy.”