Flags of Our Fathers

Posted on October 18, 2006 at 12:22 pm

Clint Eastwood’s first of two films about the WWII battle at Iwo Jima is sincere, competent, and respectful. He powerfully conveys the madness and brutality of battle and the conflicting feelings of thosw who fight — dedication, loyalty, patriotism, fear, courage, compassion, callousness, sacrifice, self-preservation. If these issues are not as well-presented as in other films, especially co-producer Steven Spielberg’s “Saving Private Ryan,” they are still important, meaningful, and moving.
The story shifts back and forth in time between the experiences of the men credited with raising the flag in the iconic photo, who were used to inspire support and raise money for the war effort. We see explosions overhead. Sometimes they are gunfire; sometimes they are fireworks. The three men are sometimes not sure themselves what they are doing or why they are doing it. But their orders are to raise that flag again and again, even if it’s at halftime on a football field. Suddenly, the New York Yankees are applauding for them. A replica of the men raising the flag in white chocolate has bright red strawberry sauce poured over it, creating an image that is anything but delicious.
The men were John “Doc” Bradley, a Naval Corpsman (Ryan Phillippe) and two Marines, Rene Gagnon (Jesse Bradford) and Ira Hayes, Jr., a Pima Indian (Adam Beach). They happened to be the ones who raised the flag the second time (when the cameras were rolling). Americans at home, sick of the war loved the triumphant picture, and loved saluting real heroes. But the men did not feel like heroes. They felt guilty staying in luxury hotels and being the center of attention. The picture was not true. One of the Marines was mis-identified, which made them feel even more hypocritical and guilty, especially Hayes, who begins to crumble with survivor guilt as he remembers those who died and what he did to stay alive. But they knew that without their help, the government would not be able to raise the money it needed to support the war effort. Meanwhile, back at tiny 5-mile-long, 2.5 mile wide Iwo Jima, the battle continued for more than a month, with 6891 Americans killed.
“When the legend becomes the truth, print the legend,” says The Man Who Shot Liberty Valance. “We like nice and simple, good and evil, heroes and villains,” says this film’s narrator.
War stories always reflect the times of their telling as much as they reflect the times they depict. Compare two films not just about the same battle but with the same script, the jingoistic WWII-era “Henry V” with Laurence Olivier and the peacetime version with Kenneth Branaugh. World War II was the first major conflict to be depicted on film as it was going on. The movies of the early 1940’s were as much propoganda as drama. After the war ended, there were more complex, even cynical stories, some written by men who were there, not just about heroism but about issues that spoke to the struggles of the post-war years (The Caine Mutiny, Stalag 17, Crossfire). A movie about the Korean War (M*A*S*H) reflected the concerns about the then-current Viet Nam war.
This film, or, perhaps we should say, this first half (Eastwood is working on a second film telling the story from the Japanese point of view) raises very contemporary issues about illusion and reality, about what we expect in and from heroes, about how wars are always about politicians sending young men (and now women) to be killed. Yet it fails to meet its own standards, killing off all of the characters who are pure of heart and leaving only the complicated and flawed ones alive. It keeps us curiously remote from its characters, the images more powerful than the story in an unintentionally ironic case of form over content.

Parents should know that this movie has extremely intense, brutal, and graphic battle violence, including torture. Many characters are killed and there are very graphic and disturbing injuries. A character apparently commits suicide. Characters use strong language, drink (one abuses alcohol) and smoke. A strength of the movie is its portrayal of the racism of the era and of some characters who are not bigoted.

Families who see this movie will want to learn more about the battle for Iwo Jima and the men in the famous photo. They should talk about who in the movie were the real heroes and why. Will we be making films about the War in Iraq 60 years from now? What will they say?
Families who enjoy this movie will also appreciate the many superb films about WWII and other famous soldiers and battles, including Saving Private Ryan (very intense violence), The Longest Day, To Hell and Back (with Audie Murphy, the most decorated soldier of the war, playing himself), and A Bridge Too Far. Movies that raise some of the issues posed by this film include The Americanization of Emily, The Caine Mutiny, The Right Stuff, and Gardens of Stone. John Wayne starred in Sands of Iwo Jima, with Hayes, Bradley, and Gagnon appearing as themselves, and Tony Curtis played Ira Hayes in The Outsider.

Flyboys

Posted on September 18, 2006 at 3:11 pm

C+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for war action violence and some sexual content.
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking, smoking
Violence/ Scariness:	Intense and graphic battle violence, characters injured and killed
Diversity Issues:	A theme of the movie
Date Released to Theaters:	2006
Date Released to DVD:	2007
Amazon.com ASIN:	B000LAZE8C

Has this script been in a drawer somewhere since 1942?

It sure seems like it. It’s “inspired” by the absorbing true story of Americans who enlisted with the French armed forces in World War I, flying aircraft that were more like orange crates than planes, in a style of combat that was being invented moment by moment. The flying scenes are thrilling but the screenplay stalls.

It was just 13 years after the Wright Brothers flew 120 feet at Kitty Hawk, long before the use of airplanes for mail or commercial transport. Hardly anyone knew how to fly and no one knew how to use this new technology in war. This was before planes were equipped with parachutes or made from steel. Top speeds were about 100 miles per hour. There was no such thing as reconnaissance. And, as one of the characters tells the new recruits, the life expectancy for the pilots is three to six weeks.

A group of Americans arrives for training, each with something to prove. One is a rich kid whose father thinks he can’t do anything. One is a maverick who’s never belonged anywhere. One is a black man who had to leave America to be treated with respect. The guy with the great cheekbones will meet a pretty girl in a brothel and assume she is a prostitute, but it turns out she is a nice girl who just happened to be there that day and even though they don’t speak the same language they fall in love and even though he is ordered not to he takes a plane so he can rescue her. It all plays out as cardboard as the dialogue, as drearily predictable as a quadrille and embarrassingly jingoistic as well.

And that is a shame, because it does evoke the thrill and terror of those early days of inventing a new style of fighting. While below them men were shooting at each other from trenches, in the sky the men looked straight into each other’s eyes and developed the kind of honor and respect that reflected their shared bond as the pioneers of a new era. Like these characters, the movie is at its best in the air.

Parents should know that this movie has a great deal of graphic battle violence. Many characters are killed. Soldiers and civilians, including women and children, are in dire peril. There are some sexual references, including scenes in a brothel. Characters drink and smoke and use some strong language. There are references to the racism of the era and racist behavior, though a strength of the movie is the portrayal of a man who will not allow himself to be diminished by racism.

Families who see this film should talk about what led these men to fight for another country. They should also talk about the way that even those who loved flying could not imagine how airplanes would transform the way we live and the possibilities of some of today’s new technologies. They should also talk about the origins and consequences of the first world war (then just called The Great War) and why the hopes that it would be the last war were not realized.

These early air skirmishes so captured the imagination of the Americans that another brand-new technology, the movies, had more hours of dogfight footage than actually occured in the war. One example was the very first film to win an Oscar, Wings. Families who enjoy this film will also enjoy other movies about air combat, including Memphis Belle and Only Angels Have Wings. They can find out more about the era here and at the Smithsonian National Air and Space Museum.

Deterrence

Posted on December 13, 2002 at 5:17 am

Teens may think that it does not really matter who gets elected President. Or, they may think that the important issues in this year’s election are the domestic controversies that attract most of the coverage, like abortion and gun control. This movie gives teens a chance to think about the importance of a candidate’s character and judgment, and to imagine how they might respond if presented with the direst circumstances.

The movie is set in 2007. Iraq has invaded Kuwait and President Emerson has to respond quickly. At first, his advisers worry about how his response will affect the campaign. Then, when Emerson tells the Iraqis that he will use a nuclear weapon to destroy Baghdad, his advisers worry about survival.

One of the movie’s strengths is its grounding in recent history, including the bombing of Hiroshima, the Cuban Missile Crisis, and Operation Desert Storm. The movie begins with news footage of Presidents from Franklin Roosevelt to Bill Clinton explaining, as they send troops into battle, that what they are doing will save lives and promote peace.

Like his predecessors, President Emerson must decide how to respond to aggression that affects the US indirectly – for the moment. But unlike his predecessors, he does not have the luxury of time. In the past, it took days to move troops around, and diplomats used that time to negotiate. But there is no time for diplomacy when both sides have nuclear bombs and one refuses to back down.

Emerson has a couple of additional complications. Like Gerald Ford, he was appointed Vice President and then became President unexpectedly. He has never been elected to national office, and is concerned that he does not have the broad support of the voters. The threat from Iraq comes in the middle of his first campaign for the Presidency. And Emerson is Jewish. The Iraqi diplomat refuses to negotiate with him because of his religion. And he worries that aggressive action will be seen by Americans as unnecessary, risky, and more based on concerns about Israel than about the US and world peace.

Talk to teens about how Presidents have made these decisions in the past, those that were successful, those that failed, and those that are still being debated. Ask them whose advice they would listen to, if they were in Emerson’s position, and what they would do if they did not have his Hollywood-style convenient resolution. What kind of qualities should a President have, and how are those qualities revealed in campaigns? What do they think about the way Emerson accepted the consequences of his decision?

FAMILY CONNECTIONS: Two excellent movies released in 1964 raised the prospect of a mistakenly fired nuclear weapon. The better remembered of the two is the classic comedy “Dr. Strangelove.” But the dramatic version, “Fail-Safe,” is also worth watching.

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Drama War

Enigma

Posted on December 13, 2002 at 5:17 am

One of the most important contributions to the Allied victory in World War II was a code-breaking operation that was so secret it was not revealed until 30 years later. Their deciphering of the Enigma code developed by the Germans shortened the war by as much as a year.

This is the story of the people who worked at a huge and historic estate called Bletchley to unlock the unlockable. They had to solve a puzzle considered impenetrable because it was so complex that it could never have been decoded by the human brain. What the Germans never anticipated was that the British would think up the beginnings of the modern day computer and develop a “thinking machine” to sort through billions of complex computations and find the equivalent of a needle buried in one of millions of haystacks.

The essentials of the story are true, but the characters in the movie are fictional. As he did with “Shakespeare in Love,” screenwriter/playwright Tom Stoppard brilliantly interweaves the real and the imaginary to illuminate not only his characters’ era but our own.

The central figure in this story is Tom Jericho (Dougray Scott), a brilliant mathematician with a stunning grasp of numerical relationships. His grasp of human relationships is a little shaky, however. When we first meet him, he is returning to Bletchley after a breakdown. He was shattered by a brief, overwhelming affair with Claire (Saffron Burrows), a co-worker who seduced and then abandoned him. His superiors do not want him back, but he may be their best hope for breaking the German’s new code, the Shark, before a group of U-boats meet up with American convoys carrying desperately needed supplies.

The reason the Germans are using a new code is that they found out that the British had broken the Enigma. Meanwhile, Claire has disappeared. Figuring out where she is and whether there is a connection between her disappearance and the leak to the Germans is a puzzle that is as important to Tom as decoding the Shark.

He teams up with Claire’s roommate Hester (Kate Winslet) to find out what happened to Claire. As they search for clues, they are watched by Wigram (Jeremy Northern), a sleek secret agent investigating Tom and his team to see if one of them is a traitor.

Stoppard is fascinated with puzzles, wordplay, secrets, and stories within stories, all of which lend themselves very well to the Bletchley code-breakers. The movie brilliantly depicts the desperate atmosphere and heart-breaking dedication of the people who knew that their success – or failure – could do more to determine the outcome of the war than a thousand soldiers with guns.

The performances are excellent, particularly Northern, whose single syllable on entering Tom’s room, “Bliss!” gives us his character’s history from tony prep school through too many compromises. He is a man who has had to sacrifice what he once thought of as honor to serve a greater cause, has had to betray in order to be loyal, and has had to keep too many secrets. Winslet’s only failing is her entirely unsuccessful effort to look dowdy. But she and Scott are marvelous at showing us something we seldom see in movies, really smart people using their intelligence.

Parents should know that the movie has some sexual references and situations (brief nudity). Claire seduces just about every man she meets. There are some very tense scenes, including graphic images of slaughtered bodies in a mass grave.

The movie raises a number of moral dilemmas that are well worth discussion. When it becomes clear that there is no way to save the American supply ships in time, the code-breakers debate whether it is right to use what they know about the ships’ positions to help them calculate the keys to break the code. What are the best arguments for each side? Who was right? The characters lie and there are a number of betrayals in the movie – more than some members of the audience may be able to sort through on the first viewing – and it is worth talking about how people decide whom to trust and how much evidence they need before they change their minds.

Families who enjoy this movie should read about the real key figure at Bletchley, the truly enigmatic Alan Turing. His artificial intelligence test is still the standard used today.

Families who enjoy this movie will also enjoy reading Between Silk and Cyanide, a wonderfully entertaining memoir by Leo Marks, who worked on creating codes during this era. (Fans of 84 Charing Cross Road will enjoy the fact that Leo Marks is the son of man who owned the bookstore at that address.) The complicated issues of uneasy alliances and tragic choices are explored in Kurt Vonnegut’s classic novel, Mother Night. You can also see an exciting but highly fictionalized version of the capture of the Enigma machine (in real life, it was the Brits, not the Americans) in U-571.

Friendly Persuasion

Posted on December 13, 2002 at 5:17 am

Plot: This is the story of the Birdwells, a loving Quaker family in the midst of the Civil War. Eliza (Dorothy McGuire), a devout woman, is the moral center of the family. Jess (Gary Cooper) is a thoughtful man, not as strict as Eliza on prohibitions like music and racing his horse, but with a strong commitment to his principles. Their children are Joshua (Anthony Perkins), a sensitive young man who opposes violence but feels that he must join the soldiers; Mattie (Phyllis Love), who falls in love with Gord, a neighbor who is a Union soldier; and Young Jess, a boy who is fascinated with the talk of war and battles.

A Union soldier comes to the Quaker prayer meeting to ask the men to join the army. They tell him that they cannot engage in violence under any circumstances. “We are opposed to slavery, but do not think it right to kill one man to free another.” Even when the soldier points out that this means others will be dying to protect their lives and property, no one will support him.

The Confederate army approaches, and Joshua and Enoch, a freed slave who works on the Birdwell’s farm, decide to join the Union. Eliza does everything she can to keep Joshua from going, even telling him that in doing so he will not only reject what he has learned in church but he will reject her, too. Jess says that Joshua has to make up his own mind. “I’m just his father, Eliza. I’m not his conscience. A man’s life ain’t worth a hill of beans unless he lives up to his own conscience. I’ve got to give Josh that chance.” Joshua prays for guidance, and leaves to join the army the next morning. At first Eliza won’t respond, but then she runs after him to wish him well.

As the war gets closer, Jess and Eliza refuse to run away from their farm as others are doing. When Josh’s horse comes back without him, Jess goes looking for him. He finds his good friend Sam mortally wounded by a sniper. When the sniper shoots at Jess, too, Jess takes his gun away, but will not harm him; he tells the sniper, “Go on, get! I’ll not harm thee.” Josh is wounded, and deeply upset because he killed a Confederate soldier. Jess brings him home.

In the meantime, the Confederates ride into the farm, and in keeping with her faith, Eliza welcomes them and gives them all her food. But when one of the soldiers goes after her beloved pet goose, she whacks him with the broom, amusing her children and leaving herself disconcerted and embarassed. Jess and Josh return, and the family goes off to church together, to continue to do their best to match their faith to their times.

Discussion: This is an exceptional depiction of a loving family, particularly for the way that Jess and Eliza work together on resolving their conflicts. They listen to each other with enormous respect and deep affection. Jess does his best to go along with Eliza’s stricter views on observance, because in his heart he believes she is right. Nevertheless, he cannot keep himself from trying to have his horse beat Sam’s as they go to church on Sunday, and he decides to buy an organ knowing that she will object. In fact, he doesn’t even tell her about it. She is shocked when it arrives and says that she forbids it, to which he replies mildly, “When thee asks or suggests, I am like putty in thy hands, but when thee forbids, thee is barking up the wrong tree.” Having said that if the organ goes into the house, she will not stay there, she goes off to sleep in the barn. He does not object — but he goes out there to spend the night with her, and they reconcile and find a way to compromise.

All of this provides a counterpoint to more serious questions of faith and conscience. In the beginning, when the Union soldier asks the Quakers if any of them will join him, one man stands up to say that nothing could ever make him fight. Later, when his barn is burned, he is the first to take up a gun. Even Eliza, able to offer hospitality to the same men who may have just been shooting at her son, finds herself overcome when one of them captures her beloved pet goose.

Jess is willing to admit that the answer is not so simple. All he asks is that “the will of God be revealed to us and we be given the strength to follow his will.” He understands the difficulty of finding the right answer for himself and for Joshua. He resolves it for himself in his treatment of the sniper, and he respects Joshua and the issues involved enough to let Joshua make his own choice.

The movie is a rare one in which someone makes a moral choice through prayer, which many families will find worth emphasizing. Josh, who was able to respond without violence to the thugs at the fair, decides that he cannot benefit from risks taken by others unless he is willing to take them, too. He cries in battle, but he shoots.

The issue of how someone committed to non-violence responds to a violent world is thoughtfully raised by this movie.

Questions for Kids:

· How is the religious service in the movie similar or different from what you have experienced?

· How was the faith of the characters tested in this movie? What did they learn from the test?

· How should people who are opposed to violence respond to violence when it is directed against them? When it is directed against others?

Connections: The screenplay was written by Michael Wilson, who received no screen credit because he was blacklisted during the Red Scare. His involvement makes the issues of conscience raised in the book even more poignant. The book on which the movie is based, by Jessamyn West (a Quaker, and a cousin of Richard Nixon) is well worth reading. Cooper faces some of the same issues (and has a Society of Friends bride) in “High Noon.” “Shenandoah,” with Jimmy Stewart as the father of a large family who tries to keep his sons out of the Civil War, raises some of the same themes without the religious context. It later became a successful Broadway musical.