[Marxism] The truth about Zero Dark Thirty: this torture fantasy degrades us all
lnp3 at panix.com
Tue Dec 25 06:56:58 MST 2012
(Since Michael Wolff is a rather conventional thinker I was surprised to
see him break with the critical/political consensus on this film.)
The truth about Zero Dark Thirty: this torture fantasy degrades us all
Kathryn Bigelow and Mark Boal's film claims to be 'based on a true
story' but no non-fiction writer could take such liberties
guardian.co.uk, Monday 24 December 2012 12.10 EST
Jessica Chastain in Zero Dark Thirty
Jessica Chastain's character in the new film Zero Dark Thirty is
reputedly based on the CIA analyst known as 'Jen'. Photograph: Snap
Zero Dark Thirty is a dreary and predictable movie (predictable even
beyond that we know Osama bin Laden's fate). Also, it's a bit copy-cat.
It's Homeland without the character quirks. ("OK… picture this…
Homeland… but the girl isn't nuts – just super-focused. What about
that?" is something like how the screenwriter, Mark Boal, must have
The controversy about the movie involves its unambiguous cause and
effect assertion that the torture of al-Qaida principals and hangers on
was the key to finding Osama bin Laden – ie: torture works. Pretty much
everybody in the intelligence community in a position to say this isn't
true has said it isn't. And then there's the
girl-alone-against-the-world narrative: Maya, our heroine, thinks about
nothing else but Osama bin Laden for almost 10 years and because of this
single-minded obsession, American forces are able to find and kill him.
That according to everybody and anybody, and to common sense, is hogwash
A non-fiction writer couldn't do this. If you did this and maintained,
to the extent that the makers of Zero Dark Thirty appear to maintain,
that this was true, and with as little documentary evidence, either no
one would publish you or you would have to invent evidence to get
published. And then, you'd invariably be found out, scandal would ensue
and your name would be blackened.
Movies, on the other hand, even when they represent themselves to be
non-fiction like Zero Dark Thirty, are still what we accept as a
"dramatization", so therefore not really real. How that is different
from a non-fiction author using novelizing techniques to bring to life
his story – and subsequently being humiliated by Oprah when he turns out
to have significantly stretched the truth – I don't know.
It certainly isn't that this is just mere suspension of disbelief and
that, when the lights go on, we go back to known reality. In fact, Zero
Dark Thirty, wrapped in the great praise that invariably accompanies
middle-brow claptrap claiming to cope with the big issues of the day,
will compete as a true narrative for how al-Qaida was dealt with and
Osama dispatched. (Similarly, The Social Network, an almost entirely
made-up version of the founding of Facebook, has pretty much become the
rosetta stone of social-media history.)
Notably, the makers of this silly, stick-figure and cartoonish movie,
director Kathryn Bigelow and screenwriter Boal, are not out on talk
shows defending the verisimilitude of their film. Their affect – which
perhaps journalists caught in the act of making things up ought to study
– is much more sphinx-ike. They are artists and don't have to lower
themselves to defend or respond.
It's helpful to them that the convenient reverse effect of all these
Washington and CIA types saying it isn't true is that it actually adds
to the illusion that it is true.
It helps too that reviewers of a certain stature – Manhohla Dargis, for
instance, in the New York Times – are willing to separate truth from
drama or art. Putting actual facts and documentary evidence aside, what
you have, according to Dargis is "a seamless weave of truth and drama… a
wrenchingly sad, soul-shaking story about revenge and its moral costs…
the most important American fiction movie about Sept. 11." Nice work if
you can get it.
But make no mistake truth is what is being sold here.
Without the pretense or, in some ultimate post-modern sense, the fiction
that this is true, what you would have here, with all the lovely staged
scenes of cinematic torture, is something as bent and campy and
revisionist as Mel Gibson's The Passion of The Christ.
If this were more accurately packaged – instead of "based on a true
story", something like "quite an extreme departure from a true story" –
the drama would seem puerile, slapdash and unconvincing. A dramatic
cliché. Fiction and drama work to the extent that you find yourself
believing that they might, actually, at least in some parallel reality,
be true. In this instance, the extent to which we might naturally
believe the story line – CIA girl alone against the world doing nothing
for 10 years but, against the wishes of her superiors, searching for
Osama – would be minimal. Except if we are told it actually is true.
Then, ipso facto, relying on our passivity and credulousness, our
skepticism is less.
Bigelow, more a special-effects cinematographer than a movie director,
and Boal, a run-of-the-mill scriptwriter, have, like many in Hollywood,
only average or sub-par dramatic skills. They are helped and elevated by
"real events". Truth is a dramatic crutch.
In some further moral inversion, it is probably not the case that they
actually believe their movie to be true. Rather this is, for them, a
convenient construct, a rhetorical rouse, a vulgar and opportunistic
lie, which the entire apparatus of making and selling this film is happy
to join: truth, or the appearance of it, sells.
If Bigelow and Boal tried for a deal on a fictionalized version of the
hunt for Osama, a fantasy, an entertainment, they probably couldn't have
gotten it. That would be ho-hum.
But back to torture, which is what this movie is really about.
The big "truth" point here is about the efficiency and efficacy of
torture. Using these terrible methods is, for better or worse, how we
got the intel to ultimately find Osama.
But that is only the surface message, the cover story if you will. The
real story, the real truth the filmmakers are trying to subliminally
present, is about the beauty of torture.
The bald claim, or the meta construct, or the wink wink about this being
a serious and important version of a big issue is really just so we can
get to the total sexiness of physical abuse. You need a higher purpose
to get out-and-out pervy stuff like this into a big-budget movie.
History is the justification.
Kathryn Bigelow is a fetishist and a sadist, which, in a literary sense,
certainly has a fine tradition. But without some acknowledgement that
this is her lonely journey and not a shared one – not our collective
reality, not a set of accepted assumptions but, for better or worse, her
own particular, problematic kink – all you have is a nasty piece of pulp
More information about the Marxism