Arenas de Iwo Jima

This film takes place in the Pacific Theater during World War II with a U. S. Marine rifle company led by a man named "Sergeant John M. Stryker" (John Wayne). As it so happens, having experienced combat firsthand he is extremely determined to train and fine-tune his company into being as capable and ready as possible. Needless to say, his hardline approach is not welcomed by everyone in the company with one particular person named "Al Thomas" (Forrest Tucker) having had a personal quarrel with him in a previous assignment. Additionally, another man by the name of "Robert Dunne" (Arthur Franz) also has a dislike for him but for an entirely different reason. Yet even so, Sgt Stryker realizes that he cannot let their personal animosity deter him from his mission-especially since they are bound to see ferocious combat in the very near future. Now rather than reveal any more I will just say that I found this to be a pretty good World War II picture due in large part to the serious plot and the acting of John Wayne who essentially carried this film. That being said, I recommend this film for those interested and have rated it accordingly. Above average.

Sgt John M. Stryker is a battle hardened Marine who's job it is to prepare his new charges for the realities of war. With no care for making friends, Stryker does what ever it takes to make these men tough and ready for the Pacific conflicts to come.

Sands Of Iwo Jima is unashamedly proud in its jingoistic fervour, and rightly so. Iwo Jima, and the now immortal portrait of weary American soldiers hoisting the flag atop Mt. Suribachi, has become a bastion of bravery, a beacon of triumph if you will. So it's no surprise to find Allan Dwan's film has no intention if deviating from boasting its colours, and hooray to that. Here as Stryker we find John Wayne giving a bit more to his character portrayal than merely some beefcake winning the war. Wayne puts depth and sincerity into Stryker, an air of believability shines through as he shows vulnerability, we believe he can win this war with his men, but we also see tenderness and it lifts Sands higher than your average war picture.

Wise old director Dwan (432 directing credits to his name), weaves the picture together with admirable restraint. Fusing actual newsreel footage with his own tightly handled action sequences, Sands plays out as the tribute and rally call that it has every right to be, even finding place in the film for three of the soldiers who hoisted that now famous flag. Ira Hayes, Rene Gagnon and John Bradley are the three gentlemen to look out for. The rest of the cast don't really have to do much outside of respond to Wayne's two fold performance, but keep an eye out for a fresh faced Richard Jaeckel as Pfc. Frank Flynn, while I personally enjoyed the brief, but important contribution from Julie Bishop as Mary.

Wayne received a nomination for Best Actor at the Academy Awards (too bad for him that 49 contained brilliant shows from the winner Broderick Crawford & a blunderbuss turn from Gregory Peck), with other nominations going to the Best Story, Editing and Sound categories. Ironically it was a role Wayne didn't fancy doing, but some encouragements from war veterans humbled him into starring.

Lock and load and saddle up for a top entry in the WWII pantheon. 8/10

I don't know about currently, but some years ago this film was being shown at the Marine Corps Basic School where second lieutenants are hatched. It's an unexcelled example of military life imitating art: a symbiotic relationship between the Corps' timeless self image and, by extension, that image reinforcing the reality of the Corps itself.

SOIJ is still one of the better WW II combat films, even 55 years after its release. The one factual glitch is the impossibility of a Tarawa unit (2nd Marine Division) being ashore on Iwo (3rd, 4th, and 5th Divisions.) Otherwise, I don't think I've never known a marine who had serious reservations about it.

I have seen this John Wayne classic war film many times, but only recently learned that three surviving original flag raisers (at the time the film was made) had cameo roles in it. Towards the end of the movie, after the beachhead and Mount Suribachi are secured, Sgt. Stryker calls for a squad to raise a flag. Watching from behind Stryker, we see three young men squat down in front of him. Stryker hands them an American flag and directs them to climb to the top of Mt. Suribachi and raise it. The three men playing the roles as themselves are: PFC Rene A. Gagnon, USMC; PFC Ira H. Hayes, USMC; and, PH3 John H. Bradley, USN -- three of the five original famous flag raisers captured on film in the famous scene atop Mt. Suribachi, and forever etched in stone in the Iwo Jima Memorial at Arlington, Virginia. The other two flag raisers were shot and killed later on the island.

Rip-roaring re-creation of WWII in the Pacific. It's more a tribute to Marine Corps fighting spirit than a traditional flag waver, even though it duplicates probably the greatest flag raising scene in US history. Wayne's perfect as the veteran Sgt. Stryker who must ready his squad for combat. At this career stage, Wayne is not yet an icon. Thus he shows his under-stated acting skills that were largely replaced by his sheer iconic presence later on. As a result, his thespic talent is too often under-rated by critics. The storyline, aside from combat, involves Stryker's difficulties with two of his men, played by Agar and Tucker. Tucker is something of a physical rival, while Agar does his duty to a Marine Corps father while rejecting the Corp's spirit. There's also brief time with girls while the guys are on leave, and I especially like the sensitive way Julie Bishop's status as a reluctant hooker is insinuated along with a lot of subtle heart.

Of course, the film's dramatic centerpiece is the lengthy combat footage. Budget-minded Republic went all out here. They blend effectively real war footage along with well done studio set-ups and location re-creations. The latter is largely thanks to the Corps cooperation which involves hundreds of real marine troopers. In fact, that beach-head footage of the assault on Tarawa may be the most intense of any post-war combat film. It's truly scary, as it should be.

Anyway, after seven decades the film may have lost some of its topicality, but the human elements remain, along with a fine turn by America's favorite cowboy, this time as a steadfast and heroic soldier.