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Widely viewed upon release in the US as the better of Eastwood's WW2 drama double-bill, Letters from Iwo Jima was always going to be the more interesting prospect. Holding a mirror to Flags of our Fathers, Iris Yamashita's Oscar nominated screenplay strips away even the barest semblance of glorification in presenting the Japanese experience of the Battle of Iwo Jima.

An approximate prequel to Flags of our Fathers, Letters from Iwo Jima returns audiences to the Pacific island battleground of Iwo Jima. But whilst the former explored the nature of victory and its representation on home shores, the latter exists solely in the hopelessness of defeat. Making poignant use of Imperial Japan's code of honour � and its fatal implications for her soldiers � Eastwood and Yamashita present a vision of war as grim and disturbing as it comes.

The Japanese experience of World War Two is, of course, rather different to the Americans', especially towards the end. It's sometimes said that the echoes of Japan's surrender still shape its collective conscious to this day, and tension between a romantic vision of war � a vision in which suicide is the honourable path for soldiers facing defeat � and the reality of 20th century combat is a major theme. Saigo (Ninomiya), a baker taken by conscription from his pregnant wife, and General Kuribayashi (Watanabe), whose collected letters formed the basis for the film, are pragmatic and a far cry from the fanatical stereotype of other Pacific Rim war films. But far from an apologist approach, Letters from Iwo Jima also passes judgement on those soldiers whose blind patriotism gave rise to the stereotypes in the first place. One scene, as tragic as it is horrific, revisits the mysterious underground explosions heard by the US marines in Flags of our Fathers.

Letters From Iwo Jima stands on its own as a worthy war movie � although perhaps a little slow in places � but its duality with Flags of our Fathers is a fascinating and unusual quirk. Yamashita has said she was conscious that her film had to work in its own right, but not so much that she avoided all reference, and viewers who have already seen Flags will be intrigued by the various nuances. When one soldier suggests the US fleet to consist of just thirty ships, we already know how wrong he is, and it adds to the sense of hopelessness. And it cuts both ways: we never actually saw what happened to Iggy in Flags of our Fathers, but Letters From Iwo Jima provides a brief and unpleasant hint. Eastwood too plays with cross-referencing, using shots from Flags during the battle sequences. Although careful not to alienate viewers unfamiliar with Flags, all these moments of reflexivity add another layer of subtlety.

Although most likely to be remembered as 'the Japanese-perspective war movie' Letters From Iwo Jima holds its own among a packed crowd of worthy 21st century war-movies. Incredibly sad, often disturbing, but not lacking charm and even, at times, a sense of humour, Letters From Iwo Jima will be ill-served if it misses out on an Oscar or two this year.

Images � Warner Bros Ent Inc 2007