If the world is at war then so is Eastwood, the experience shared isn’t exactly observed in here.
Eastwood is a good pretender. Usually, he makes things look easy. And this time, the director, Clint Eastwood, may not have things served up front on the table. And even though he has to reach out for it, stretching his hand with enormous effort, he has still got that cowboy-ish smug on his face. As much as fascinating or innovative the idea is, the shift in perspective had to only make it familiar. And aware of this very fine window, Eastwood narrows down the behavior of these men calculatively similar; language changes but not the nature.
Jolting that very fear of being alone in a forsaken land along with fellow companionship who too are equally scared, his version of war may not be crowded or exhilarating as Steven Spielberg’s in Saving Private Ryan, but it surely is an homage to those 50s The Bridge On The River Kwai- alike projects. Addition to it, it also has the vocab of that one man army script, as in, amidst all the broken political schemes applied left and right, it is inspiring to see this brutal battlefield, turn into mano-y-mano gritty action that is tailed with the obvious, survival spirit.
Personally, I feel there was a lot to accomplish in here, especially the aftermath of this heroic event. Yes, with an emotionally driven final act, it is quite a full stop Eastwood concludes on, but the film is more about the ongoing action rather than the consequences of it. Partly sinister and partly hopeful, he makes sure that you are at the brisk off your emotions when things break down to either side of the coin; and yes it mostly lands on the losing side, I mean it is about war, for not even the Letter From Iwo Jima could take that away and neither can Eastwood.