Based on James Bradley’s bestselling book of the same name Flags of Our Fathers is Saving Private Ryan meets Stand By Me. Buried in the collective national conscious the Associated Press photo of six American soldiers raising a flag of victory over Iwo Jima is the basis of the film. Bradley’s father Doc Bradley (played by Ryan Phillippe in the film) who was one of the flag-raising soldiers never fully shared the details of the experience with his son but Flags meditates on some of those unanswered questions. The Iwo Jima conflict fortified by crags of Japanese snipers lays siege to thousands of messy casualties and the tattered flag--immediately seized by U.S. government officials to rallying and recruit soldiers--emerges as a symbol for American pride while the five Marines and one corpsman who raised it are basically forgotten. Heavy dramatics are saved for Adam Beach (Windtalkers) as Ira Hayes the Native American Marine who degenerates into madness. He represents the bittersweet languor of lost ambition and broken spirits. Director Clint Eastwood is actually the film’s best actor even though he isn’t in the movie. We can see his simmering restraint in the Flags’ acting ensemble as he guides his actors into finely tuned performances. From Beach to Phillippe to Paul Walker (2 Fast 2 Furious) Eastwood gets the most out of his young cast by playing them down. Similar to real-life soldiers allegiance to the team is the actors’ goal creating authenticity. Intense stress requires the actors to have genuine instincts. But by intentionally constructing a more lived-in feel there is consequently no flashy or Oscar-worthy stand-outs. To his credit Walker who usually goes for the brain-dead million dollar paychecks tries something different here while in his pivotal role Beach plays the juicy role as best as he can. Still Beach’s breakdown scene is quite honestly one-dimensional and doesn’t have the same dramatic impact as say Born on the Fourth of July’s Tom Cruise. Of Flags’ likely award recognitions the acting seems to have the least chance of reaching the winner’s circle. Vintage Eastwood is a lion in winter directing as though there’s no tomorrow. With Flags he interweaves numerous themes to create a war movie which despite its cliché-filled genre is constantly real in tone. The film is historically credible from the American perspective only but Eastwood has also directed a companion piece Letters from Iwo Jima about the Japanese side which hits theaters next year. Complex themes of celebrity worship also give the film a post-modern jaded Iraq War-era vision. Then there are the visuals. Eastwood incorporates breathtaking CGI shots of the fleet of warships reminiscent of Troy on top of an old-style photographic framing black and white and green all washed-out. It’s like looking at a scrapbook of old photos on a high-definition CD-ROM. Naturalistic scenes--sprawling in their panoramic framing with cactuses and hills of black sand--remind us we’re watching one of America’s cinematic icons at work. Flags could be Eastwood’s third Best Director Oscar--and will likely net him $100 million-plus at the box office.
Painfully estranged from his daughter old-school boxing trainer Frankie Dunn (Clint Eastwood) hasn't let anyone get too close to him in a very long time. Even his best friend and former trainee Scrap (Morgan Freeman) who manages Frankie's rundown boxing gym has a tough time getting through. Everything changes however when Maggie Fitzgerald (Hilary Swank) walks into the gym. A spitfire looking for someone to believe in her Maggie also has a painful past. But with unshakable willpower along with some tremendous raw talent Maggie has found that her love for boxing could be her ticket to a happy life--and she wants Frankie to turn her into a champion. Naturally he doesn't want to have anything to do with her and doesn't want to take that risk especially with a girl.Yet Frankie is soon won over by the young boxer's dogged resolve to be the best. The road to glory isn't easily paved for these two stubborn mules but Maggie and Frankie rediscover a sense of family they both thought they'd lost long ago. Theirs is a bond that will carry them through one of the hardest journeys either one of them will ever take. Oh yeah you're going to need a wad of tissues for this one.
Swank once again sheds her girlishness to tackle the roughhouse world of female boxing and she delivers another Oscar-caliber performance as Maggie. Not only does the actress embody the physicality of such a role--achieved after months of hard training--she also captures the spirit of a woman who defies the odds by breaking away from her dirt-poor trailer-trash upbringing to become a champion. Some may liken the plain no-nonsense Maggie to Swank's Oscar-winning role as the girl-turned-boy Brandon in Boys Don't Cry but Swank has matured in her acting abilities giving Maggie a very definite feminine edge. Still Swank might consider a nice romantic comedy for her next project. As for the men of Baby Eastwood and Freeman have never been more on top of their game. Frankie is tailored-made for Eastwood who plays a man tortured by his past and reluctant to let anyone in. It's a persona he has adopted many times but as the boxing trainer the craggy face gravel-voiced actor-director truly gives one of the better performances of his career. The same goes for Freeman as the soft-spoken but oh-so-wise Scrap. And watching the two Unforgiven veterans bicker and banter in Baby is like watching an old married couple.
Like a fine wine Clint Eastwood's movies just keep getting better and better the older the director gets. Following last year's intense Mystic River which some saw as a bit heavy handed Eastwood seems to have gone back to a quieter simpler more personal tone with Million Dollar Baby. The film starts out along the lines of such great boxing films as Raging Bull and the recent Girlfight as it highlights the competitive world of female boxing. It's in your face and gritty showing the punches the blood and the pain in glorious Technicolor. But just as it starts to turn into Rocky-style sap when Maggie rises to the top against all the odds the film subtly shifts into a love story about two people hurt by their pasts only to find each other and decide to hold on in a deeply familial way. Then just when you think how sweet that all is Baby throws you for an even bigger albeit darker loop. Eastwood expertly and gently guides you through the film's wondrous maze of revelations. Baby could very well creep in as a surprise Oscar contender.