Zero Dark Thirty and torture

ZERO DARK THIRTY

A controversy has erupted relating to Zero Dark Thirty and its depiction of torture used by American intelligence forces in the War On Terror.  Critics of the movie assert that 1) the movie incorrectly shows that interrogations under torture helped track down Bin Laden and/or 2) the movie favors this application of torture.  Astoundingly, much of the criticism came before the release of the film and from people who had not seen it.

It is historical fact that, during the George W. Bush administration, American intelligence forces used “harsh interrogation techniques” on detainees, some of which (including waterboarding) constitute torture.  It is also well-established that torture is not an effective means of interrogation.  You can check with last month’s report by the Senate Intelligence committee (reported here) and these intelligence experts interviewed on NPR (and also here).

In my view, the torture used in these interrogations violated US and international law.   I also take the word of interrogation experts that torture is not effective because it does not produce reliable intelligence.  To end the torture, subjects will eventually say anything that they think that the interrogator wants to hear – whether true or timely or useful or not.   These experts say that more useful information is gained – without torture – by using skilled non-coercive interrogation techniques.

[SPOILER ALERT – the next few paragraphs contain key plot points.  If you haven’t seen the movie, you can skip to the last paragraph for my conclusion.]

So does Zero Dark Thirty incorrectly show that interrogations under torture helped track down Bin Laden?  The first hour of Zero Dark Thirty depicts the first years of the War On Terror, including several instances of interrogation with torture (which undeniably happened).  In the movie, one of the pieces of information secured through such an interrogation is a nickname for one of Bin Laden’s couriers – but this tidbit does not pay off.    But years go by without anyone capitalizing (or even verifying this lead).  Most of the intelligence agents even believe information from another detainee that the courier is dead.  In fact, years elapse and new leads come and go after the torture of detainees has ended.

Only in the ninth year of the man hunt, do the intelligence agents begin to close in by combining an overlooked tip on the courier’s family name, wiretapping the courier’s mother’s home phone, triangulating his cell phone calls (my favorite scenes in Zero Dark Thirty), putting a tail on the courier and satellite and drone surveillance of the compound.  Even with this, only the Jessica Chastain character rates more than a 60% probability on Bin Laden’s location.  All of this happens long after Zero Dark Thirty has shown the last of the torture – and after showing presidential candidate Obama pledging to end the practice when elected President.

Now, of course, non-critical thinkers in the audience may see torture at the beginning and the successful raid on Bin Laden at the end, and incorrectly connect the dots but, in my opinion the filmmakers cannot be held responsible for the lazy thinkers in the audience.  I conclude that Zero Dark Thirty does not show that the use of torture helped to locate Bin Laden.

And does Zero Dark Thirty favor the use of torture?   The torture scenes are realistic, and they are uncomfortable for the audience; they are not gratuitous.   In contrast, in the Dirty Harry movies, the audience roots for Harry when he shoots the bad guy in the kneecap to get information.  In Zero Dark Thirty, the filmmakers do not frame the scenes so the audience gets a kick out of the torture – even though the folks being tortured are the most despicable people on earth.  I have no problem with the filmmakers showing the use of torture – it did happen and it illustrates that, in the 9/11 aftermath, the American government would go to any means to get the terrorists.  Just because the filmmakers show stomach-turning torture does not mean that they endorse it.   I conclude that Zero Dark Thirty does not favor the use of torture.

Finally, I am very disappointed that many commentators and political leaders that I generally agree with jumped into the fray before they saw Zero Dark Thirty.  These are the same folks who, along with me, would not hesitate to ridicule the criticism of a film (e.g., The Last Temptation of Christ) by right wingers who hadn’t seen it.  In this case, their criticism of Zero Dark Thirty was both unfounded and unfair.

Zero Dark Thirty: a great director’s enthralling tale

Zero Dark Thirty is director Kathryn Bigelow’s inspired telling of the hunt for Bin Laden.  Bigelow, who won the directorial Oscar for The Hurt Locker, once again demonstrates an uncommon ability to enthrall.  She chose to tell the story of the frustrating, wearying and dangerous ten-year man hunt, not just the exciting raid in Abbottabad.

We should all be grateful that this movie was made with Bigelow’s directorial choices.  She is content to invest half of her screen time on false leads and wasted efforts – and makes them utterly gripping.  She neither lingers on the violence nor shies away from it.   In a scene where a CIA operative is looking for a man talking on a cell phone,  the camera pulls back to reveal that he is on a chaotic Pakistani street with hundreds of men on cell phones – perfectly conveying the needle-in-a-haystack aspect of the search.  As  the Navy Seal team returns from the successful raid, the music is deeply thoughtful and reflective, not the triumphalist anthem that many directors would have used.

Zero Dark Thirty contains realistic and non-gratuitous depictions of war, terrorism and torture. The movie is, to my sensibilities, not too uncomfortable for most viewers.   (Tomorrow I will comment on the torture controversy surrounding this movie.)

Jessica Chastain brilliantly plays the CIA analyst who doggedly and passionately pursues an unlikely lead that finally pays off after a ten-year grind.  I’ve already rhapsodized several times about Chastain’s sudden emergence as perhaps our best current screen actress.  She is profoundly gifted and can do anything.   Let’s just say that, as good as Zero Dark Thirty is, she carries it.

The rest of the fine cast includes Jason Clarke (Lawless), Joel Edgerton (Animal Kingdom), Jennifer Ehle (The Ides of March, The King’s Speech), Kyle Chandler (Friday Night Lights), Fares Fares (Safe House), Jeremy Strong (The Guard),  Mark Duplass and James Gandolfini.

I’ve added Zero Dark Thirty to my list of Best Films of 2012.

2012 in the Movies: breakthroughs

Macy Gray in THE PAPERBOY

After seeing Ruby Sparks and Celeste and Jesse Forever, I can hardly wait for the next screenplays by actress-writers Zoe Kazan and Rashida Jones.  Those were two of the smartest and most inventive screenplays of the year, and revived the thought-to-be-brain dead romantic comedy genre.

Popular singer Macy Gray turned in an astonishing performance in The Paperboy.  Like Mariah Carey in Precious, Gray has proved that she can act.

Also in the The Paperboy and in Liberal Arts, Zac Efron proved that he is more than just the pretty boy of High School Musical.  I am looking forward to his dramatic turn in Ramin Bahrani’s  (Goodbye Solo, Chop Shop, Man Push Cart) At Any Price.

Mary Elizabeth Winstead turned in what should be a star-making performance in Smashed.  Let’s see if she gets a chance in a big movie.

Movies to See Right Now

LINCOLN

If you haven’t already, make sure you see the best three movies this season.  In Lincoln, Steven Spielberg and Daniel Day-Lewis push aside the marble statue and bring to life Abraham Lincoln the man. Argo is Ben Affleck’s brilliant thriller based on a true story from the Iran Hostage Crisis. The rewarding dramedy Silver Linings Playbook has a strong story, topicality and humor, but it’s worth seeing just for Jennifer Lawrence’s performance. All three films are on my list of Best Movies of 2012 – So Far.

If, like me, you worship the spaghetti Western, the Quentin Tarantino blockbuster Django Unchained is gloriously pedal-to-the-metal, splattering exploitation. Also don’t overlook the solid thriller Deadfall that is flying under the radar this holiday season.

Ang Lee’s visually stunning fable Life of Pi is an enthralling commentary on story-telling.  Denzel Washington stars in Flight, a thriller about the miraculous crash landing of an airliner and the even more dangerous battle against alcoholism.  Skyfall updates the James Bond franchise with thrilling action and a more shopworn 007 from Daniel Craig.

Pass on the lavish but stupefying all star Les Miserables, with its multiple endings, each more miserable than the last. The FDR movie Hyde Park on Hudson is a bore. The disaster movie The Impossible is only for audiences that enjoy watching suffering adults and children in peril.

You can read descriptions and view trailers of upcoming films at Movies I’m Looking Forward To.

2012 in the Movies: most fun at the movies

William Friedkin's KILLER JOE

1.  This year I attended over ten screenings that were followed by Q & As with the filmmaker.  My favorite was the rip-snorting Killer Joe, followed by an hour with one of the great raconteurs, director William Friedkin (The French Connection, The Exorcist).

2.  Sitting with other film geeks at the San Francisco International Film Festival, only to be surprised and delighted by the hilarious Norwegian comic thriller Headhunters.

3.  Watching the three-hour director’s cut of Margaret with The Wife and our friend Paula.

4.  Watching Bill W. (about the founder of Alcoholics Anonymous) in an audience that contained over 200 AA members,

5.  Enjoying the  classic Italian comedy Big Deal on Madonna Street for the first time.

6.  Discovering the political satire The Dark Horse and the workplace drama Employees Entrance from the early 1930s, both starring  Warren William, the King of Pre-Code.

7.  Revisiting classics like M, the 1979 Tinker Tailor Soldier Spy and The Exorcist and finding that they all hold up well today.

2012 at the movies: pre-theatrical VOD

KING KELLY

Pre-theatrical Video on Demand is emerging as a mainstream platform for movies.  In 2012, I watched thirteen movies on Amazon VOD, YouTube and DirecTV BEFORE they appeared in theaters.  These films included Take This Waltz, the Sarah Polley film that made it to my Best Movies of 2012, as well as three other movies that I really liked, the affectionate documentary Paul Williams Still Alive, the rip-roaring satire King Kelly and the thriller Deadfall.   Of course, I also saw a higher proportion of  stinkers on VOD than in theaters.  Anyway, I find that nowadays it’s well worth checking the pre-theatrical VOD offerings (which I do on IndieWire).

2012 at the Movies: they were too damn long

Waiting for THE MASTER to end

San Francisco Chronicle movie critic Mick LaSalle recently wrote “Very few movies need to be longer than two hours. Directors should make movies, not take hostages.” He’s right.

Some filmmakers seem to have the mistaken view that length conveys importance.  It does not.  What makes good movies good – unpredictable plot, intriguing characters,  evocative settings and singular visuals – can be accomplished in 90 minutes.  A movie only needs to be longer if the sweep of the story requires it.

Sometimes it is necessary, but length itself never makes a movie better.  It does make a poor movie more unbearable.  The opening sentence of my comments on the ponderous The Dark Knight Rises was, “Well, there’s 2 hours and 44 minutes that I’ll never get back.”  A much better franchise movie, Skyfall took two hours 23 minutes – but how much was really the action spectacle and Bond coolness that we were looking for? The Master was two hours 24 minutes long, but only the first 110 minutes was good; a potential masterpiece just fizzled out, trying to find an ending.

For some movies, being overlong is the fatal flaw.  I wrote about A Royal Affair: “It’s a romance and tragedy of operatic depth, and, unfortunately, operatic length.  It would make a gripping 90-minute film, but A Royal Affair slogs through 137 minutes.   As a result the sharpness of the tragedy becomes dulled into mere grimness.”

Its 2 hours and 47 minutes duration was the only imperfection in In the Family.  I wrote: “There’s probably a 130 minute indie hit somewhere inside In the Family.”  If it lost half an hour, In the Family would have made my list of the year’s best movies.

Of course, an epic like Lawrence of Arabia needs to be long. That’s why this year’s Cloud Atlas needed over two hours to cover its six story threads across six centuries. With this year’s Once Upon a Time in Anatolia, the leisurely pace and long length were key to its hypnotic appeal.

But my current pick for top movie of 2012, The Kid with a Bike, is only 87 minutes long.  Looking at this year’s other best movies, Elena, Bernie, End of Watch, Headhunters, Moonrise Kingdom, Rampart, and The Sessions, are all well under two hours.   (At 122 minutes, Silver Linings Playbook, is also under two hours if you leave during the end credits.)

2012 at the Movies: most overlooked films

Seth Rogen and Michele Williams in TAKE THIS WALTZ

What are 2012’s most overlooked films?  Take This Waltz, Elena and Once Upon a Time in Anatolia are on some Top Ten lists, including mine, but they still haven’t gotten the buzz that they deserve. These are three of the very best films of the year.  I wish that more women, especially, would experience writer-director Sarah Polley’s work and Michele Williams’ performance in Take This Waltz Anatolia is admittedly not for everyone, but I think that future film historians may rate it as a masterpiece.

The thriller Deadfall was solid, but got lost among the big Holiday movies.  And the brilliantly original satire King Kelly, which I saw on VOD,  wasn’t released in any theaters that I know of.

2012 at the Movies: farewells

Andy Griffith in A FACE IN THE CROWD

This year I wrote farewells to four of my movie favorites.

Most Baby Boomers first saw Ben Gazzara as the star of the 60s TV series Run for Your Life, and cinephiles point to his work in two groundbreaking John Cassavetes films, Husbands and The Killing of a Chinese Bookie.  I immediately thought of the Coolest Movie Character Ever, John Russo in Peter Bogdanovich’s They All Laughed.

Levon Helm‘s 17 acting credits include some very top shelf stuff. He was Loretta’s father in Coal Miner’s Daughter. In The Right Stuff, he played Ridley, test pilot Chuck Yeager’s aircraft mechanic, the guy who loans him Beeman’s chewing gum before each life-risking test flight. He was also the narrator in The Right Stuff.  I particularly loved one of his last roles, Old Man with Radio in Tommy Lee Jones’ overlooked 2005 The Three Burials of Melquiades Estrada.

Susan Tyrrell was nominated for the Best Supporting Actress Oscar for a dead-on performance as a pathetic sad sack barfly in the under appreciated Fat City (1972).

For his very first feature film, Andy Griffith shed the likeability and decency that made him a TV megastar and became a searingly unforgettable villain.  In the 1957 Elia Kazan classic A Face in the Crowd, Griffith played Lonesome Rhodes, a failed country guitar picker who is hauled out of an Arkansas drunk tank by talent scout Marcia Jeffries (Patricia Neal).  It turns out that he has a folksy charm that is dynamite in the new medium of television.   Presaging communication in the television age, A Face in the Crowd is one of our most important political movies.

2012 at the Movies: the year’s best movies

THE KID WITH A BIKE

Here’s my list of the best films of 2012: 1)  The Kid with a Bike, 2) Beasts of the Southern Wild, 3) Argo, 4) Lincoln, 5) A Separation, 6) Silver Linings Playbook, 7) Take This Waltz, 8) Once Upon a Time in Anatolia, 9) Elena and 10) Polisse, .

Continuing with my list of 2012’s best films, here are my honorable mentions:  Monsieur Lazhar End of Watch, Rampart, Moonrise Kingdom, Headhunters, Bernie and Detachment.

(Note:  I’m saving room for some films that I haven’t yet seen, especially Amour and Zero Dark Thirty, which I won’t get a chance to see until mid-January .)

You can watch the trailers and see my comments on all these films at Best Movies of 2012.

According to Metacritic, all of my picks (except Detachment) were highly rated by prominent critics.  I did disdain some well-reviewed films, most notably The Master, which made lots of critics’ end-of-year lists.

(Further Note:  A Separation won the 2011 Oscar for Best Foreign Language Film, and Monsieur Lazhar was nominated, but neither were widely released in the US until 2012.  Similarly, The Kid with a Bike was screened in October 2011 at the New York Film Festival, but was not theatrically released in the US release until March 2012.  These films are on my 2012 list because, like most Americans, I couldn’t see them until 2012.)