Hall of Famer
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 Eastwood himself is packing it in. The memorabilia in question is merely being loaned 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 César Chávez, 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 about Million Dollar Baby. In the full spirit of those words, he has spent much of the intervening 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 preproduction, Eastwood had a thought: What about the Japanese troops who fought so bravely to defend those eight square miles of volcanic terrain, 20,000 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 front lines, 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, one that's difficult to imagine any other American filmmaker (save perhaps Steven Spielberg, who served as Eastwood's producer on the movie) getting made.
"I just thought it would be good to tell the whole story," Eastwood says with trademark nonchalance, adding that he was particularly drawn to the figure of Lt. Gen. Tadamichi Kuribayashi (played in Letters by Ken Watanabe), the Japanese commander on Iwo Jima who, before 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 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 whom Eastwood calls "young men asked to live a very short lifetime." As the war in Iraq nears the beginning 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 antiwar diptych than a troubled inquiry into the moral relativism of the battlefield. As handily as Unforgiven muddied (literally and figuratively) the mythology of the classic western, Eastwood's latest films shatter the clear-cut notions of heroism and villainy ingrained in almost every Hollywood World War II movie, through and including Saving Private Ryan.
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"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: Audiences did not embrace Flags, which has performed well below Eastwood's usually robust business since its release in mid-October. The director admits he's disappointed but says he doesn't have anything left to prove to anyone, except 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."
Indeed Eastwood seems content, and with no new projects in development, he says he's interested only in making films that fully ignite his passions. "When you're younger and things first start happening to you for me it was the 1960s you say yes to a lot of things," he explains. "Your agent says, 'Do this; play in this picture because you're in it with Richard Burton.' Then someone asks Richard: 'Why are you in the picture?' And he says, 'Well, because I'm in it with Clint.' But why are we here? I did a lot of pictures like that you could go through a whole list of them. People lean on you, and like all actors, you think every job's going to be your last job. At that age, you don't wait for the perfect thing that may or may not come along in ten years. But now, if this is the last picture I do, that's fine."
1. Army of Shadows (Jean-Pierre Melville, France)
2. United 93 (Paul Greengrass, UK/U.S.)
3. Letters from Iwo Jima (Clint Eastwood, U.S.)
4. The Death of Mr. Lazarescu (Cristi Puiu, Romania)
5. Happy Feet (George Miller, U.S.)
6. Inland Empire (David Lynch, U.S.)
7. Climates (Nuri Bilge Ceylan, Turkey-France)
8. Children of Men (Alfonso Cuarón, UK/U.S.)
9. A Prairie Home Companion (Robert Altman, U.S.)
10. Talladega Nights: The Ballad of Ricky Bobby (Adam McKay, U.S.)
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