Flags of Our Fathers

(Movie) February 1945. Even as victory in Europe was finally within reach, the war in the Pacific raged on. One of the most crucial and bloodiest battles of the war was the struggle for the island of Iwo Jima, which culminated with what would become one of the most iconic images in history: five Marines and a Navy corpsman raising the American flag on Mount Suribachi. The inspiring photo capturing that moment became a symbol of victory to a nation that had grown weary of war and made instant heroes of the six American soldiers at the base of the flag, some of whom would die soon after, never knowing that they had been immortalized. But the surviving flag raisers had no interest in being held up as symbols and did not consider themselves heroes; they wanted only to stay on the front with their brothers in arms who were fighting and dying without fanfare or glory. 'Flags of Our Fathers' is based on the bestselling book by James Bradley with Ron Powers, which chronicled the battle of Iwo Jima and the fates of the flag raisers and some of their brothers in Easy Company.

片名： Flags of Our Fathers

译名：父辈的旗帜

导演：克林特·伊斯特伍德 Clint Eastwood
　
主演：

瑞安·菲利普 Ryan Phillippe
本·沃克 Ben Walker
亚当·贝奇 Adam Beach　

类型：剧情 Drama　战争 War　

上映：2006年 10 月 20 日

地区：美国

出品：梦工厂 Dreamworks

Transcript and Translation

You get it?
拍到啦？

I don't know. I wish we could have seen their faces.
我不知道，但愿能看清他们的脸

The right picture can win or lose a war.
好的照片能够决定战争的输赢

You're gonna want to see this!
你得瞧瞧这张照片

Now/no, this picture, people went crazy over it. Country was tired of the war. One photo, almost all on its own, turned that around.
的确这张照片令大家为之振奋。整个国家对这场战争已经厌倦。仅此一张照片便可扭转乾坤

We're clear ....go, go, go, go... move, move...
安全...快快快快... 冲啊冲啊...

And there is why they aren't shooting.
他们怎么都不开枪啊?

Maybe they are all dead.
或许他们都死光光了

What do you think, Deck? You think they are all dead?
戴克你觉得呢? 你认为他们都死光了?

Capt. Severance asked me who else was in that picture.
思韦伦斯上校问我还有谁在那张照片

You told them that it was me?
你告诉他们我在其中了?

No.
没有

Then pick someone dead.
那就选个阵亡的将士吧

They don't want somebody dead, they wanna ship us back to the States. 他们并不需要阵亡的他们要将我们送回国内

Here are the Heros of Iwo Jima.
欢迎我们的硫磺岛英雄

Everybody wants to meet you guys, listen, simple things I want you to say, mostly, buy bonds
大家都想见到你们。听着，我最想和你们谈论的事情就是买国债

You know, I think this whole damn thing is a farce.
你知道么，在我看来，这简直就是一场闹剧

If we don't raise 14 billion dollars, this war is over by the end of the month.
如果我们筹集不到140亿美元月末这场战争就会结束

As far as us, being/in the Heros of Iwo Jima, that's just not the case. The real heros are dead on that island.
对于我们而言，被授予硫磺岛英雄称号，只是浪得虚名。真正的英雄已经长眠于那座岛屿

Knowing he was with you that day, and seeing him in that photograph, I don't know why it makes me feel better, but it does.
得知那一天他和你在一起，看着照片中的他，我不知道为何我感受好多了，真的

It's so silly?
是不是有点傻?

No, it's not.
不不是

I can't take them calling me a hero. Some of the things I saw them die, they want things to be proud of .
我无法承受他们称我为英雄，目睹他们的牺牲。他们应当倍感自豪

影片简介

1945年2月，虽然欧洲战场上的硝烟已经要接近尾声，但在太平洋战场的炮声还在继续。太平洋战场上的硫磺岛战役是一场极端惨烈的战役，短短一个月里先后有22000个日本人和26000个美国人战死。在经过了浴血战斗之后，最后美国人取得胜利，六个美国士兵将美国国旗插上硫磺岛最高点，胜利的旗帜将被永久的铭记！

在美国华盛顿广场上，树立着一座雕塑——在枪林弹雨中，六个美国士兵将一面美国国旗插上了硫磺岛最高点。那是美国二战历史中最标志性的一刻，而那些士兵们却从来没有想过能否成为英雄的问题，对于他们来说，那一刻只不过是战争的残酷、战友的手足之情、正义的反击和胜利的象征。铁骨铮铮的硬汉克林特·伊斯特伍德堪称是震撼人心的硫磺岛战役导演的不二人选，而继《百万美元宝贝》之后和金牌编剧保罗·哈吉斯再次合作也确保了父辈的旗帜会迎风飘扬。

电影评价

相比近年的同类作品《拯救大兵瑞恩》、《细细的红线》、《黑鹰坠落》、《我们是士兵》、《三王夺金》、《风语者》……，《父辈的旗帜》的最显著特点便是缺乏星光。无汤姆·汉克斯、西恩·潘、乔什·哈奈特、伊万·迈克格雷格、梅尔·吉普森、乔治·克鲁尼、尼古拉斯·凯奇之类的主演（当然，有明星未必票房俱佳），算是市场行情的负面因素。

　　不过，“同名原著小说的畅销＋导演、监制两位大人的知名度”，可视作对上述劣势的弥补。另外，尽管在10月发行战争片绝非主流，且“申奥作品”一旦评价未如预期便迅速降温，但奥利佛·斯通那部正反两论的《世贸中心》尚有7000万＄进账。因此，有理由相信"不碰新伤、只谈旧事"的《父辈的旗帜》卖得更好。

　　作为主旋律二战史诗，影片将再现太平洋战争的“人间地狱”硫磺岛战役。两万六千余名美军官兵阵亡换来的胜利，以6位士兵在萨瑞巴奇山顶插上星条旗的经典瞬间永在史册。本作以传奇照片为故事的起点，回朔残酷的硝烟，很早便被各界看好是本年度所有“奥斯卡企图”中最夺目的看点。参考"世界第一帅老头"伊斯特伍德大人的两部近作《神秘河》、《百万宝贝》，均入围奥斯卡最佳影片，票房也分别高达9000万＄和1亿＄。因此，品质同样值得期待的《父》，一定收获不菲。

Movie Review (电影评论)

Ambitiously tackling his biggest canvas to date, Clint Eastwood continues to defy and triumph over the customary expectations for a film career in "Flags of Our Fathers." A pointed exploration of heroism -- in its actual and in its trumped-up, officially useful forms -- the picture welds a powerful account of the battle of Iwo Jima, the bloodiest single engagement the United States fought in World War II, with an ironic and ultimately sad look at its aftermath for three key survivors. This domestic Paramount release looks to parlay critical acclaim and its director's ever-increasing eminence into strong B.O. returns through the autumn and probably beyond.

Conventional wisdom suggests directors slow down as they reach a certain age (Eastwood is now 76), become more cautious, recycle old ideas, fall out of step with contemporary tastes, look a bit stodgy. Eastwood has impertinently ignored these options not only by undertaking by far his most expensive and logistically daunting picture, but by creating back-to-back bookend features offering contrasting perspectives on the same topic; the Japanese-language "Letters From Iwo Jima," showing the Japanese side in intimate terms, will be released by Warner Bros. next year.

One way to think about "Flags" is as "The Man Who Shot Liberty Valance" of this generation. That 1962 John Ford Western is famous for its central maxim, "When the legend becomes fact, print the legend," and "Flags" resonantly holds the notion up to the light. It is also a film about the Greatest Generation that considers why its members are, or were, reticent to speak much about what they did in the war, to boast or consider themselves heroes.

Skillfully structured script by William Broyles Jr. and Paul Haggis throws the audience into the harrowing action of the Iwo Jima invasion as a personal memory that can never be softened or forgotten. But the brutal fighting is eventually juxtaposed with the government's use of the celebrated image of the Marines raising the flag on Mount Suribachi for propaganda and fund-raising, with scant ultimate regard for the "heroes."

Reflecting its origins in the bestselling 2000 book by James Bradley (son of one of the central figures) with Ron Powers, tale is framed around a son's search into the wartime exploits of his father John Bradley, one of the six men pictured raising the flag. The I.D.ing and matching of some old-timers to their younger selves is never the easiest thing to do, and the same goes for getting all the names immediately straight for a bunch of young soldiers wearing identical uniforms and very short hair.

But the camera focuses on a handful of the 30,000 troops that landed on the inhospitable spec of volcanic ash and tufa that is Iwo Jima on Feb. 19, 1945, to dislodge some 20,000 well-fortified Japanese.

Among the men are John "Doc" Bradley (Ryan Phillippe), the only Navy man in a group that otherwise includes Marines: Rene Gagnon (Jesse Bradford), Native American Ira Hayes (Adam Beach), the highly capable leader Sgt. Mike Strank (Barry Pepper), Hank Hansen (Paul Walker), Ralph "Iggy" Ignatowski (Jamie Bell), Harlan Block (Benjamin Walker) and Franklin Sousley (Joseph Cross).

Such is the carnage at the initial landing (the Americans suffered 2,000 casualties that first day alone) that there will be some temptation to compare the scene to current co-producer Steven Spielberg's justly celebrated D-Day invasion sequence in "Saving Private Ryan." But Eastwood does it his own way, impressively providing coherence and chaos, awesome panoramic shots revealing the enormous armada and sudden spasms of violence that with great simplicity point up the utter arbitrariness of suffering and death in combat.

The visual scheme Eastwood developed for the picture is immediately arresting. Perhaps taking a cue from the island's black sand, as well as from WWII's status as the last war shot, from a filmic p.o.v., in black-and-white, pic is nearly as monochromatic as anything shot in color can be. Dominated by blacks, grays and olive greens, cinematographer Tom Stern's images have a grave elegance, a drained quality that places the events cleanly in history without diminishing their startling immediacy.

On the fifth day of fighting, some Americans reach the summit where a great deal of the Japanese firepower is concentrated, and six Marines plant a small stars-and-stripes. Shortly after, a larger flag is sent up and, in an event only shown in the film considerably later, six different men, Bradley, Gagnon and Hayes among them, responding to a photographer's half-joking question of, "O.K., guys, who wants to be famous?," put their muscle behind pushing up the new flag held in place by a heavy length of pipe.

At once, AP photographer Joe Rosenthal's shot became arguably the most iconic image of the American war. No faces were identifiable in the photo, leading to some confusion as to who was even in the shot, and three of them were killed soon after.

But the surviving three are spirited back to the mainland to spearhead a final war bonds drive. Bradley, Gagnon and Hayes are treated like gold-plated heroes everywhere, all the while being confronted by replicas of the flag raising made of papier-mache or even ice cream.

Of the three, Gagnon embraces his sudden celebrity, gallivanting around with his fiancee and expecting great things to stem from it. Already haunted by the horrors he witnessed, Bradley copes in a subdued way. But Hayes, whose story was dramatized onscreen in 1961 as "The Outsider" with Tony Curtis, of all people, portraying the Pima Indian, can barely hold it together.

Feeling from the outset that their participation in the tour is a "farce," that the real heroes are the guys who died or are still out there fighting, Hayes drinks heavily, embarrassing himself while having to stomach the everyday casual racism of being called "chief" or being refused service.

And once they've done their bit raising billions for the government, they're left on their own to put their lives back together. It's not an easy road, particularly for Hayes, who in one moving, genuinely Fordian moment, treks a long distance for a brief visit with the father of one of his fallen comrades.

Given this dramatic, wrenching arc, Hayes' story becomes the heart of the movie, and Beach, who previously played a Native American in the Pacific campaign in "Windtalkers," unquestionably takes the acting honors with it, delivering a full sense of the character's pain and sense of entrapment in an absurd situation. Other perfs are thoughtful, credible and deliberately unspectacular, although Pepper supplies special power as the leader the young men need as they come face to face with the enemy.

The director and editor Joel Cox find an effective and comfortable rhythm for the drama's parallel tracks. Spectacle is by no means limited to the battle scenes; one major setpiece is an enormous rally at Chicago's Soldier Field where the men are expected to scale a large model of Mount Suribachi and plant the flag. Perhaps the most felicitous of the film's many outstanding visual effects is the elimination of the recently built flying saucer-like addition to the venerable stadium.

The film's themes are so thoroughly embodied in the drama as it's told that there is no need for explicit statement of them, which makes the final bit of narration about the nation's need for heroes seem unnecessary. Another minor flaw is a Hollywood backlot look to a couple of Chicago street scenes.

Otherwise, "Flags of Our Fathers" is exemplary in its physical aspects. Combination of exteriors shot on the black beaches of Iceland with CGI work conveys a vivid and comprehensive feel of the godawfulness of Iwo Jima.

This and the forthcoming "Letters" represent the final work of the late, great production designer Henry Bumstead; no one could wish to go out on a better note. Pic is dedicated to him and two others who died during production, Eastwood's longtime casting director Phyllis Huffman and flag-raising photographer Rosenthal.

The director himself composed the spare, effective musical score.