(updated below)
Earlier this year, the film "Zero Dark Thirty," which purports to dramatize the hunt for and killing of Osama bin Laden, generated substantial political controversy. It was discovered that CIA and White House officials had met with its filmmakers and passed non-public information to them -- at exactly the same time that DOJ officials were in federal court resisting transparency requests from media outlets and activist groups on the ground that it was all classified.
With its release imminent, the film is now garnering a pile of top awards and virtually uniform rave reviews. What makes this so remarkable is that, by most accounts, the film glorifies torture by claiming -- falsely -- that waterboarding and other forms of coercive interrogation tactics were crucial, even indispensable in finding bin Laden.
In the New York Times on Sunday, Frank Bruni wrote: "I'm betting that Dick Cheney will love the new movie 'Zero Dark Thirty.'" That's because "'enhanced interrogation techniques' like waterboarding are presented as crucial" to finding America's most hated terrorist. Bruni explains [emphasis added]:
"[I]t'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 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.
"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."
Referencing Jane Mayer's reporting that it was ground-level CIA officers who were the first to object to these torture techniques as both immoral and counter-productive, Bruni notes: "'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."
[I have not seen this film and thus am obviously not purporting to review it; I am, instead, writing about the reaction to the film: the way in which its fabrications about the benefits of torture seem to be no impediment to its being adored and celebrated.]
Strangely, that the film glorifies torture by depicting it as crucial to getting bin Laden is noted even by its most gushing fans. New York Magazine's David Edelstein just named it the best film of 2012, hailing it as "a phenomenal piece of action filmmaking -- and an even better piece of nonaction filmmaking." But in the next breath, he notes: "It also borders on the politically and morally reprehensible. By showing these excellent results -- and by silencing the cries of the innocents held at Abu Ghraib, Bagram, and other 'black sites' -- it makes a case for the efficacy of torture."
In the New Yorker, former New York Times Iraq war correspondent Dexter Filkins just published a short and fluffy profile of the film's director, Kathryn Bigelow, in which he notes that "the film includes wrenching scenes of a terrorist suspect being waterboarded and subjected to other forms of torture by C.I.A. operatives; the suspect eventually surrenders information that helps lead to bin Laden." Noting how quickly the film was released after the raid itself -- a mere 19 months -- the profile quotes Bigelow as claiming that "what we were attempting is almost a journalistic approach to film."
That this film would depict CIA interrogation programs as crucial in capturing America's most hated public enemy, and uncritically herald CIA officials as dramatic heroes, is anything but surprising. A large Hollywood studio would never dare make a film about the episode which is America's greatest source of collective self-esteem and jingoistic pride without clinging tightly to patriotic orthodoxies. The events that led to bullets being pumped into Osama bin Laden's skull and his corpse being dumped into the ocean have taken on sacred status in American lore, and Big Hollywood will inevitably validate rather than challenge that mythology.
Moreover, the controversy earlier this year was grounded in the concern that by working so closely with government officials -- "considerable cooperation from the CIA and the Defense Department," wrote Bruni -- the filmmakers would be captured by their viewpoints and agenda. And so it is: by all accounts, the film's supreme hero is a CIA agent; the CIA's most controversial -- illegal -- interrogation tactics are hailed as indispensable; and while Obama is not featured much, any film that glorifies the bin Laden raid necessarily reminds the country of what he and his followers obviously consider to be one of his crowning achievements.
All of that is just ordinary propaganda and orthodoxy-boostering that, standing alone, would be too commonplace and inevitable to merit much comment. But what makes all of this so remarkable is that the film's glorifying claims about torture are demonstrably, factually false. That waterboarding and other torture techniques were effective in finding bin Laden is a fabrication.
About the film's depiction of torture as helpful in finding bin Laden, Bruni writes with extreme understatement that "that's hardly a universally accepted version of event." Filkens' reaction -- though also weirdly tepid -- is much closer to the truth. Here's the crux of this matter [emphasis added]:
"Bigelow maintains that everything in the film is based on first-hand accounts, but the waterboarding scene, which is likely to stir up controversy, appears to have strayed from real life. According to several official sources, including Dianne Feinstein, the head of the Senate Intelligence Committee, the identity of bin Laden's courier, whose trail led the CIA to the hideout in Pakistan, was not discovered through waterboarding. 'It's a movie, not a documentary,' [screenwriter Mark] Boal said. 'We're trying to make the point that waterboarding and other harsh tactics were part of the CIA program.' Still, Bigelow said, 'the film doesn't have an agenda, and it doesn't judge. I wanted a boots-on-the-ground experience.'"