The question of whether “enhanced interrogations” work is separate from whether they’re moral—a distinction Kathryn Bigelow’s film, but not all of its critics, understands.
There are two ugly interrogation scenes in the opening minutes of Zero Dark Thirty (30 phut sau nua dem) that haunt the rest of the experience, and that have come to haunt critical reception of the film itself.
After we hear the terrified voices of Americans trapped on the upper floors of the burning towers on 9/11 against a black screen, the movie opens on a character named Ammar, suspended from the ceiling by chains attached to both wrists. It is two years later. Ammar is bloody, filthy, and exhausted. We learn quickly that he is an al-Qaeda middleman, and a nephew of Khalid Sheik Mohammad, architect of the 9/11 attacks. Ammar is believed to know details of a pending attack in Saudi Arabia, and he is uncooperative.
His brutal questioning by CIA officer Daniel is uncomfortable to watch. It is cruel and ultimately futile. As his tormenters fold him into a small punishment box, demanding the day of the attack. Ammar murmurs “Saturday,” then, “Sunday,” then, “Monday,” then, “Thursday,” then, “Friday.”
In the script, referring to the frustrated Daniel, the scene closes with the words, “Once again, he’s learned nothing.”
The subsequent Saudi attacks occur. Daniel accepts responsibility for the failure, along with his new associate, the film’s heroine Maya. This is all in the first minutes of the movie. Torture has been tried, and it has failed. It is Maya then who then proposes something different. Why not trick him?
“He doesn’t know we failed,” Maya says. “We can tell him anything.”
And it is cleverness, coated with kindness, that produces something useful. It is too late to stop the Saudi attack, but Ammar offers them a name. More correctly, a pseudonym, what in Arabic is called a “kunya,” a nom de guerre: Abu Ahmad al-Kuwait, the father of Ahmed from Kuwait. Maya doesn’t know it yet—indeed, she won’t find out for years. But this is the first small clue on the long trail to Abbottabad.
Zero Dark Thirty, by director Kathryn Bigelow and screenwriter Mark Boal, is an extraordinarily impressive dramatization of the 10-year-long hunt forBi n La den, one that I wrote about in far more detail in my book The Finish. Starring: Chris Pratt, Édgar Ramírez, Jason Clarke, Jennifer Ehle, Jessica Chastain, Joel Edgerton, Mark Strong. Warmly praised by many film critics (The Atlantic’s Chris Orr named it the best film of 2012). And so far a box office hit (it goes into wide release on January 11).
It is sure to be in the running for major recognition during the coming awards season. But it has also been attacked by some viewers as a false version of the story that effectively advocates for the use of torture. Those viewers argue that the film, while brilliant, shows torture to have played an important role in finding Bi n La den, which they say is not true. It is reminiscent of the late movie critic Pauline Kael’s memorable putdown of director Sam Peckinpah as a virtuoso of “fascist” art.
This no doubt comes as a shock to Bigelow, whom I have never met. But who has been described to me as the kind of gentle soul who “would stoop to lift a snail off the sidewalk.”
The criticism is unfair, and its reading of both the film and the actual story seems willfully mistaken. Torture may be morally wrong, and it may not be the best way to obtain information from detainees. But it played a role in America’s messy, decade-long pursuit ofBi n La den, and Zero Dark Thirty is right to portray that fact.
A screenplay is more like a sonnet than a novel. Action on screen unfolds with visceral immediacy. But any story with sweep—this one takes place over nearly a decade—can only be told with broad impressionistic strokes. The challenge is greater when trying to tell a true story. The interrogation scenes in the beginning color the entire tale, but they are necessary. They are part of the story. Without them, I suspect some of the same critics now accusing it of being pro-torture would instead be calling Zero Dark Thirty a whitewash.
The charge that the action film (phim hanh dong my) is pro-torture is easy to debunk. I have already noted the dramatic failure depicted in the opening scenes with Ammar. The futility of the approach is part of the more general organizational failure depicted in the movie’s first half, culminating in a dramatization of the tragic 2009 bombing of Camp Chapman, in Khost, Afghanistan, where an al-Qaeda infiltrator wiped out an entire CIA field office. The agency is shown to be not only failing to find Bi n La den and dismantle al-Qaeda, but on the losing end of the fight. In case the point hasn’t been made clearly enough, a visit from an angry CIA chief to the U.S. Embassy in Pakistan in the next scene underlines it:
“There’s nobody else, hidden away on some other floor,” he says. “This is just us. And we are failing. We’re spending billions of dollars. People are dying. We’re still no closer to defeating our enemy.”
Zero Dark Thirty is precise, definitive filmmaking, yet Bigelow refuses to hand over easy answers. Some people call that evasion. I call it the ultimate despair.