When my friend saw Flags of Our Fathers and I asked him about it, he described it–I’m paraphrasing–as an unexciting four. Seeing it, I can fully understand. It’s a great film, but its greatness is somewhat inevitable and uninteresting. Clint’s way too good of a filmmaker at this point to turn in something less, especially given the content. However, the content, specifically Clint’s fluctuating interest in it, is what makes Flags so unexceptional, so unexciting. Flags is based on a guy’s book investigating his father and the other flag-raisers at Iwo Jima. While the film does establish itself with a present-day frame, it isn’t specified its this author investigating. Away from Iwo Jima, Clint’s most interested in Adam Beach’s character, an alcoholic American Indian who’s touring as a hero but can’t get served in bars. Beach’s character is the most like an Eastwood character in Flags. At one moment, after the book-writing frame became clear and Flags felt a lot like The Bridges of Madison County, only without Clint’s full commitment to the frame, Beach seemed a lot like Clint in that film.
Even though Beach has Clint and the film’s interest for the war bonds campaign (after the photo got popular, the surviving subjects toured to sell war bonds), Ryan Phillippe gets the most emphasis on Iwo Jima. Watching Phillippe act and do it well, I felt validated–back in 1998, I said he was going to be good (after watching Playing by Heart) and it only took him seven years. The Iwo Jima sections of the film are short and involve a lot of CG and watching Clint handle it is interesting. He uses the CG like a rear projection, making Flags of Our Fathers‘s battle scenes look a lot like a modern 1940s war film. He pulls it off well, because it’s interesting to look at, while not being visually stunning. Still, I think there was a whole story of the characters on Iwo Jima, just because the castings so good–Barry Pepper, Neal McDonough and Robert Patrick are all great in small roles (Pepper especially), but the greatest surprise of Flags, performance-wise, has to be Paul Walker. Sure, he’s only got ten lines and he’s in the film for two and a half minutes, but he’s really good.
The third main character, played by Jesse Bradford, somehow gets more time than Phillippe, but has the least to do. The film only hints at the relationship between the three men, but never explores it, probably through some kind of misguided sense of historical accuracy. I’m kidding (to some degree), but it’s obvious there’s something holding Clint back here and it’s probably the source material and its presentation. Clint’s made an excellent film, but there’s something missing, some awareness of itself and the different ways it moves, since it does have three concurrently running narratives. It might even be three films, or at least two since Bridges managed to beautifully incorporate its two narratives.
It’s a powerful film and a complete experience, but it’s like ordering dinner at a great restaurant, a restaurant you know is going to be excellent. The food’s great, but it doesn’t surprise you.
Directed by Clint Eastwood; written by William Broyles Jr. and Paul Haggis, based on the book by James Bradley with Ron Powers; director of photography, Tom Stern; edited by Joel Cox; music by Eastwood; production designer, Henry Bumstead; produced by Eastwood, Steven Spielberg and Robert Lorenz; released by Paramount Pictures.
Starring 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 (Col. Chandler Johnson).