Letters from Iwo Jima summary of box office results, charts and release information and related links. Letters from Iwo Jima. Original Theatrical Date: December 20, 2006. OSCAR WINNER: Best Sound; Nominated for four Academy Awards, including 'Best Picture,' Clint Eastwood's Letters From Iwo Jima tells the untold story of the Japanese soldiers who defended their homeland against invading American forces during World War II.

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  The movie follows General Tadamichi Kuribayashi, the American-educated general as he courageously leads the Japanese resistance to the massive American onslaught of the island of Iwo Jima during World War II.

  Actors: Ken Watanabe,Kazunari Ninomiya,Tsuyoshi Ihara,Ryo Kase,Shid么 Nakamura,Hiroshi Watanabe,Takumi Bando,Yuki Matsuzaki,Takashi Yamaguchi,Eijiro Ozaki,Nae,...»

  Country: United States

  Quality: HD

  IMDb: 7.9
  Keywords:
• Played by: Ken Watanabe

  Played by: Kazunari Ninomiya

  Played by: Tsuyoshi Ihara

  Played by: Ryo Kase

  Played by: Shid么 Nakamura

  Played by: Hiroshi Watanabe

  Played by: Takumi Bando

  Played by: Yuki Matsuzaki

  Played by: Takashi Yamaguchi

  Played by: Eijiro Ozaki

  Played by: Nae

  Played by: Nobumasa Sakagami

  Played by: Lucas Elliot Eberl

  Played by: Sonny Saito

  Played by: Steve Santa Sekiyoshi

  Played by: Hiro Abe

  Played by: Toshiya Agata

  Played by: Yoshi Ishii

  Played by: Toshi Toda

  Played by: Ken Kensei

  Played by: Ikuma Ando

  Played by: Akiko Shima

  Played by: Masashi Nagadoi

  Played by: Mark Moses

  Played by: Roxanne Hart

  Played by: Yoshio Iizuka

  Played by: Mitsu

  Played by: Takuji Kuramoto

  Played by: Avery Wada

  Played by: Yoshi Tomo Kaneda

  Played by: Evan Ellingson

  Played by: Kazuyuki Morosawa

  Played by: Masayuki Yonezawa

  Played by: Hiroshi Tom Tanaka

  Played by: Mathew Botuchis

  Played by: Yukari Black

  Played by: Daisuke Nagashima

  Played by: Kirk Enochs

  Played by: Taishi Mizuno

  Played by: Yoshi Ando

  Played by: Mark Ofuji

  Played by: Hallock Beals

  Played by: Jeremy Glazer

  Played by: Masashi Odate

  Played by: London Kim

  Played by: Dick 'Skip' Evans
• Birthdate: 31 May 1930, San Francisco, California, USA

• An even more sombre affair, as beautifully restrained as the earlier film but also, despite its scenes of battle, death, suicide and suffering, shockingly intimate.

  The movie's sense of doom is powerfully conveyed; one graphic scene has weeping soldiers blowing themselves up with grenades.

  Indirectly but cogently comment on our experiences of other movies. Having Japanese soldiers as heroes allows us to reconsider the didacticism we've been handed in the past.

  The proper way to appreciate Letters and Flags is to treat them as complimentary halves of the same epic movie, a Godfather war epic. One half is plainly more ambitious than the other, but both have virtues that distinguish them.

  By placing us on the opposite side of the battlefield, the movie forces us to approach it from a fresh perspective. The technique also lends Letters an uncommon timelessness.

  Where Flags heaved its characters through war and psychic trauma without first allowing us all to get acquainted, Letters takes such care with its protagonists that they awaken and descend from the screen.

  Modern-day echoes of being snookered into a bad war aren't lost on Clint Eastwood, and 'Letters from Iwo Jima' delivers an overwhelmingly powerful eulogy for the death of righteousness in combat on either side of the line.

  Not an anti-war tract or a glorification but, rather, a fair consideration of humanity that exists within the inhumanity of armed conflict.

  Eastwood is a master of the extended look (this comes from the two directors he acknowledges as his own masters, Sergio Leone and Don Siegel), the look that stretches time and that is blinded by what it sees.

  The most important film of 2006 was Clint Eastwood's Letters from Iwo Jima. In 20 years Letters from Iwo Jima will be a classic.

  War is hell, always has been, and movies will continue to confirm it for anyone who might doubt. In this case, though, Letters only shows that for all the different perspective the other side of a war could have, it's the same old movie clich茅s.

• An even more sombre affair, as beautifully restrained as the earlier film but also, despite its scenes of battle, death, suicide and suffering, shockingly intimate.
• The movie's sense of doom is powerfully conveyed; one graphic scene has weeping soldiers blowing themselves up with grenades.
• Indirectly but cogently comment on our experiences of other movies. Having Japanese soldiers as heroes allows us to reconsider the didacticism we've been handed in the past.
• The proper way to appreciate Letters and Flags is to treat them as complimentary halves of the same epic movie, a Godfather war epic. One half is plainly more ambitious than the other, but both have virtues that distinguish them.
• By placing us on the opposite side of the battlefield, the movie forces us to approach it from a fresh perspective. The technique also lends Letters an uncommon timelessness.
• Where Flags heaved its characters through war and psychic trauma without first allowing us all to get acquainted, Letters takes such care with its protagonists that they awaken and descend from the screen.

• Denver Rocky Mountain News

  1/19/2007 by Robert Denerstein

  Eastwood is now 76, and Letters has the feel of a movie made by a man of experience. Almost stately in its tone, Letters reflects the wisdom of living; it's interested in observing how men behave when they know they can't win.
• Letters is a work of whetted craft and judgment, tempered by Eastwood's years of life, moviemaking and the potent tango of the two. It is the work of a mature filmmaker willing to entertain the true power of the cinema.

• Minneapolis Star Tribune

  1/13/2007 by Colin Covert

  Humanizing our old adversaries doesn't erase their war crimes, and Eastwood doesn't whitewash the brutality of Japanese militarism. His point is that the Emperor's infantrymen were as much the victims of the Japanese war machine as the GIs they fought.
• Eloquent, bloody, and daringly simple, the movie examines notions of wartime glory as closely as Flags of Our Fathers dissected heroism.
• In both his films, Eastwood empathizes with the 'expendable' soldier on the ground, the 'poor bastard' who is only a pawn in a war conceived by generals and politicians, some of whom have never come anywhere near a battlefield or a combat zone.
• If Flags of Our Fathers is about heroism -- why we need it, how we create it -- then Letters From Iwo Jima is about honor, its importance, and its folly.
• It skillfully avoids the usual war movie clichs while providing multiple points of entry.
• Watanabe is appropriately noble and regal, if a bit stiff at times; but it is Ninomiya's grunt soldier who gives the film its soul. Alternately philosophical, humorous, terrified and crafty, he is everyman trying to survive hell.
• Though it could have gone in that direction, Eastwood's film isn't an existential endgame drama. He's still more rooted in Howard Hawks than Samuel Beckett and in many ways this is a conventional war drama.
• Side by side, though, Eastwood's movies are a sobering marvel: the massive military effort, suffering and sacrifice, the extremes of human behavior that war produces.
• In washed-out tones of brown and khaki, mimicking the colors of the troops' uniforms (blood, used sparingly, is startlingly crimson, seeming to sear a hole in the screen), the film plays out in a mood of resignation and control.
• The unspoken message of the film is that war is a battle of competing symbols and ideologies that have no meaning. We create artificial divisions to hide the fact that we are all the same under the skin, with the same hopes, desires and fears.
• In the last half-hour, the story, like the Japanese, loses its way; lacking any clear-cut goals except survival, the film becomes repetitive. Letters From Iwo Jima is a necessary movie; too bad it's not a great movie.
• [This] absorbing and thoughtful take on the plight of the trapped, desperate and suicidal Japanese troops, outstrips its companion piece. That's not a statement on patriotism; it addresses the nature of Eastwood's approach and basic human nature.