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April 13, 2008

Frank Rich: The Petraeus-Crocker Show Gets the Hook

Filed under: Commentary — Tags: , , , , , , , , — Volt @ 9:03 am

Frank Rich, The New York Times, April 13, 2008

The night before last week’s Senate hearings on our “progress” in Iraq, a goodly chunk of New York’s media and cultural establishment assembled in the vast lobby of the Museum of Modern Art. There were cocktails; there were waiters wielding platters of hors d’oeuvres; there was a light sprinkling of paparazzi. Then there was a screening. We trooped like schoolchildren to the auditorium to watch a grueling movie about the torture at Abu Ghraib.

Not just any movie, but “Standard Operating Procedure,” the new investigatory documentary by Errol Morris, one of our most original filmmakers. It asks the audience not just to revisit the crimes in graphic detail but to confront in tight close-up those who both perpetrated and photographed them. Because Mr. Morris has a complex view of human nature, he arouses a certain sympathy for his subjects, much as he did at times for Robert McNamara, the former defense secretary, in his Vietnam film, “Fog of War.”

More sympathy, actually. Only a few bad apples at the bottom of the chain of command took the fall for Abu Ghraib. No one above the level of staff sergeant went to jail, and no one remotely in proximity to a secretary of defense has been held officially accountable. John Yoo, the author of the notorious 2003 Justice Department memo rationalizing torture, has happily returned to his tenured position as a law professor at the University of California, Berkeley. So when Mr. Morris brings you face to face with Lynndie England — now a worn, dead-eyed semblance of the exuberant, almost pixie-ish miscreant in the Abu Ghraib snapshots — you’re torn.

Ms. England, who is now on parole, concedes that what she and her cohort did was “unusual and weird and wrong,” but adds that “when we first got there, the example was already set.” That reflection doesn’t absolve her of moral responsibility, but, like much in this film, it forces you to look beyond the fixed images of one of the most documented horror stories of our time.

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