Flags of Our Father

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Flags of Our Fathers

Much had been narrated, written and even made into a film that made it had to accept that anything could be added to the vast knowledge about the Second World War. However, with all these expressions, repetition, processing, digestion and spit out, here again, at the age of seventy-six Clint Eastwood give another interesting narration that was later made into a war film “Flag of Our Fathers.”  

A war veteran of the Iwo Jima reflects in "Flag of Our Fathers" that the fighters who were on the war (island) were not battling a result of their Nation or Flag but for "the man before him and the man behind him." Clint Eastwood's film makes this contention from various perspectives; the soldier who endure the bleeding massacre are regularly quiet about it as of currently, also an old man still get bad dream about a confidant lost in the war zone.

The individuals who were identified as Iwo Jima legends were, in reality, conquers. However, in the film they have a tendency to be lethargic to such applaud and they cannot overlook the dead friend deserted. The force of the fight can barely be envisioned. The Marines endured thirty-three percent of all their Second World Battle demises on the modest spot in the Pacific, and all the twenty-two thousand rooted Japanese died by their hands (some).

Eastwood's aggressive and immensely powerful film has three points: To reproduce the damnation of the Iwo Jima Battle, to investigate reality and importance of the celebrated photo of the flag raised, and to note the repercussions in the survivor’s lives. He combined it with another film, "Letters from Iwo Jima," which was about the experience of the Japanese; an army of safeguards burrowed into the stone of the island to make invigorated positions (Hart 1032-1034). Clearly to them without air or ocean bolster they would have been defeated; their main goal was to hold out for the longest time they could.

The film starts with interlocking acts from present and the past, demonstrating the fight in progress and being recollected, with the survivors’ voice-overs. At that point, after a strained prelude adrift, it concentrates on the underlying American landing, which was frightfully peaceful; no Japanese gunshots were experienced on the shoreline, and troops progressed inland effortlessly, until being trapped by hidden adversary positions. During that first day, two thousand soldiers died with the majority of them being American soldiers.

The strategies of the Japanese, while at last damned, were frightfully successful. Their positions were connected by passages in the strong shake, and their large weapon positions were protected by steel entryways that swung close after each shooting. "How did they dig these passages?" one Marine inquires. However, it is evident in the second movie that most of it was done by hand. One of the confusing certainties of the fight was that projectiles or fire hurlers could eliminate an automatic rifle emplacement, and afterwards, re-worked on the passage and end up noticeably active once more.

Eastwood concentrates especially on the officers who was involved in the raising of the flag on the island (Mount Suribachi). After the falling of the first flag that was kept by a government official as a souvenir (Gjelsvik and Schubart 119-138). The raising of the second Flag was the photographed one by Joe Rosenthal an AP photographer, whose photo turned out to be apparently the most well-known photo ever taken.

The fighters who raised the Flag were addressed as legends. However, their actual identity was not noted since their faces were not captured in the photograph. Nor were the individuals credited (who raised up the first Flag) since the official story was that there was just one occasion (Schubart and Gjelsvik 2-15). The soldiers themselves knew their identity, but rather nobody truly needed to know the reality; three of them later died, and other three were conveyed home to feature a countrywide visit to offer US Bonds.