Bin Laden, Torture and Hollywood
By FRANK BRUNI
Published: December 8, 2012
I’M betting that Dick Cheney will love the new movie “Zero Dark Thirty.”
Who could have predicted that? Hollywood, after all, is supposed to be a West Coast annex of the Democratic National Committee, and the makers of this gripping thriller, about the hunt for Osama bin Laden, were expected to repay the Obama administration for its indulgence of them with a tribute to the current president’s wisdom and grit.
But the movie of the year is also the political conundrum of the year, a far, far cry from the rousing piece of pro-Obama propaganda that some conservatives feared it would be. “Zero Dark Thirty,” which opens in theaters on Dec. 19 and presents itself as a quasi-journalistic account of what really happened, gives primary credit for the killing of Bin Laden to neither the Bush nor the Obama administrations but to one obsessive C.I.A. analyst whose work spans both presidencies. And it presents the kind of torture that Cheney advocated — but that President Obama ended — as something of an information-extracting necessity, repellent but fruitful.
Even as David Edelstein, the film critic for New York magazine, named “Zero Dark Thirty” the best movie of 2012 in a recent article, he digressed to say that it “borders on the politically and morally reprehensible,” because it “makes a case for the efficacy of torture.”
Edelstein isn’t the only critic in a morally complicated swoon over “Zero Dark Thirty.” Last week the New York Film Critics Circle awarded it the best movie of the year. So did the National Board of Review. Surprises atop surprises: not only does “Zero Dark Thirty” decline to toe a conventionally liberal line, but it is being embraced by many cultural arbiters who are probably at some level horrified by the conclusions it seems to reach.
Will they wrestle honestly with that, as Edelstein did? Or will they elect unsullied rapture for “Zero Dark Thirty” and either ignore or come up with a selective interpretation of its policy implications? That will be one of the fascinating wrinkles of the imminent debate about a movie that demands close examination.
With ample reason, we often dismiss what comes out of the commercially minded dream factory of Hollywood as simplistic, candied, trivial. Yet “Zero Dark Thirty” and “Lincoln,” another of the year-end movies at the center of the unfolding Oscar race, are dedicated to the ethical ambiguities and messy compromises of governing — to the muck and stink that sometimes go into the effort of keeping this mighty country of ours intact and safe.
“Lincoln” looks at that through the prism of our 16th president and the legislative art and chicanery by which he and his allies passed the 13th Amendment, ending slavery. “Zero Dark Thirty” uses the war on terror as its lens and raises big, complicated questions about whether one brand of evil excuses another and the preservation of freedom hinges on targeted applications of savagery. From Hollywood during the holiday season, we’re getting not just “The Hobbit” and the inevitable Tom Cruise vehicle. We’re getting a civics lesson.
“Zero Dark Thirty” takes its title from a military term for half past midnight, which is when Navy SEALs raided Bin Laden’s compound in Pakistan. It’s the work of the director Kathryn Bigelow and the screenwriter Mark Boal, who previously collaborated on “The Hurt Locker.” As they researched their new movie, they got considerable cooperation from the C.I.A. and the Defense Department, provoking complaints from some conservatives, who smelled an Obama hagiography in the making.
They smelled wrong. Obama isn’t a character in the movie but, rather, a part of the backdrop to a narrative about the bloody drama and bloodless tedium of intelligence gathering over the course of nearly 10 years between 9/11 and the killing of Bin Laden. It’s about finding a needle in a uniquely messy and menacing haystack. “Enhanced interrogation techniques” like waterboarding are presented as crucial to that search, and it’s hard not to focus on them, because the first extended sequence in the movie shows a detainee being strung up by his wrists, sexually humiliated, deprived of sleep, made to feel as if he’s drowning and shoved into a box smaller than a coffin.
THE explicit detail with which all of this is depicted could, I suppose, be read as the moviemakers’ indictment of it, and to some extent “Zero Dark Thirty” will function as a Rorschach test, different viewers seeing in it what they want to see. But the torture sequence immediately follows a bone-chilling, audio-only prologue of the voices of terrified Americans trapped in the towering inferno of the World Trade Center. It’s set up as payback.
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And by the movie’s account, it produces information vital to the pursuit of the world’s most wanted man. No waterboarding, no Bin Laden: that’s what “Zero Dark Thirty” appears to suggest. And the intelligence agents involved in torture seem not so much relieved as challenged by Obama’s edict that it stop. Their quest for leads just got that much more difficult.
That’s hardly a universally accepted version of events. “Some of the F.B.I. agents and C.I.A. officers involved in this program at the really gritty, firsthand level were the ones who blew the whistle on it, because they were really horrified,” said Jane Mayer, the author of the best-selling book “The Dark Side,” which is widely considered the definitive account of the interrogation program.
“Zero Dark Thirty” doesn’t convey that, nor does it reflect many experts’ belief that torture is unnecessary, yielding as much bad information as good. “The military, the F.B.I., the C.I.A. itself — along with G.O.P. hawks like McCain, who was himself tortured — say there’s no justification, no need and no excuse,” Mayer said.
And for the drone attacks that have been a favored tactic of the Obama administration, leading to the assassinations of people never tried or convicted? Is there ample justification for that? The end of “enhanced interrogation” wasn’t the end of methods seemingly outside the usual precepts of American law, and as “Zero Dark Thirty” reminds us, Obama ordered the raid that led to Bin Laden’s death without any guarantee that Bin Laden would be there and that the bullet-riddled bodies in that Pakistan compound would be his and his associates’.
In the name of our democracy, we have long done and we continue to do some ruthless cost-benefit analyses and some very ugly things, to which we should never turn a blind eye. Whatever “Zero Dark Thirty” gets wrong, it gets that much right.
http://www.skweezer.com/s.aspx/-/www~nytimes~com/2012/12/09/opinion/sunday/bruni-bin-laden-torture-and-hollywood~html?pagewanted=2
