Standard Operating Procedure

Respectful silence from the audience throughout. Not a word spoken by anyone exiting the theatre afterwards. Standard Operating Procedure is the film no one is talking about.

Errol Morris' documentary on the abuse of detainees at Abu Ghraib prison is smart and informative. While talking head interviews with the people directly and indirectly involved provide the backbone, cinematic reconstructions of 2003s grizzly events coupled with the well known photographs taken by soldiers work successfully at pulling an emotional response from the viewer.

Though intriguing, SOP doesn't really benefit from the big screen treatment and would probably have just as much impact if viewed on TV.

Dark and depressing, shocking and enlightening: SOP is 2008's must see documentary.

Standard Operating Procedure is a very disturbing documentary. The music and the images allow us to understand the prison and to see what went on in the prison. The clear context of the crimes against humanity that is so off putting and mainly off camera is contrasted with inviting film work that draws us into this story. There are very interesting images and techniques that are used that must be seen again for the simplicity and elegance of them. It is therefore a bit unsettling. Questions are asked and answered, but in doing so other questions arise. We find ourselves again asking for more information and questioning the truthfulness of everyone interviewed. Where are the commanders that ordered this to happen? Where are the political leaders that legitimated these behaviors? They are in the background. They seem to have run away to hide from the story and from history. Without pictures would we have been unable to see the abuses reported? Are we yet, with pictures, unable to see the real abuses? The aberrant seems to be the Standard Operating Procedure. We find ourselves questioning our own beliefs and wrestling with our own culpability.

This disturbing documentary causes one to ask: is the U. S. military populated by a bunch of degenerates masquerading as soldiers? Is the U. S. military depicted in this movie the same U. S. military that was welcomed as liberators during World War Two or has the U. S. military iterated to the point that it is now completely unrecognizable from its past? Abuse of authority is an old story but when it is officially sanctioned and then covered up, then that is altogether another story. Hasn't the U. S. military ever heard of the Nuremberg War Crime trial? Yet this same military directed its lowest ranking personnel to commit the grossest criminal acts and when the whole thing was uncovered refused to take responsibility, instead opting to scapegoat those who were stuck with having to carry out the orders. What kind of leadership is that? There's a saying: S%$# flows downhill and what happened at Abu Graib prison is proof of that. Where did the soldiers get the idea that you could torture prisoners? Where did that come from? What kind of culture would produce people who think that making people sexually abuse themselves is acceptable ... and then gloat about it? The photos shown in this movie speak for themselves. The United States did not fight Nazi Germany just to adopt the procedures associated with the SS, but at Abu Graib that is exactly what happened.

One other thing. What this documentary reports is another example of what happens when amateurs, in this case reservists, are asked to perform military duties for this they have no training or professional experience. But even that does not explain the total breakdown in discipline and the willingness to engage in repugnant behavior that they knew was illegal and improper.

Errol Morris has covered some interesting and weird subjects and I found his last film (Fog of War) to be quite fascinating, so I was looking forward to seeing where he went next. I was quite surprised that he chose to do a documentary on Iraq. Sure, it is totally the subject of our time but it has become a very cluttered subject – not only in documentary films but also the amount of news coverage etc that is available. When I learnt that the film would be a tight focus on Abu Ghraib I hoped that Morris would explore the total human aspect of it and do a really good job of delivering this part of it.

Unfortunately what Morris manages to produce is a film that is solid but not as remarkable as the subject deserves. Part of this, it must be said, is familiarity with the subject; having seen many films that do it better. Taxi to the Dark Side comes to mind specifically because it uses the prison as its starting point before following the smell upwards and outwards to paint a much bigger picture of failure and things that are impacting beyond specific acts of torture. By remaining within the world of the prison, Morris potentially could do enough to standout as being THE film on the subject. The early signs are good because I was surprised to see several of the main names/faces that I knew from the news coverage of the scandal and thus this was going to be the story from those involved firsthand. This was a gamble in a way because the problem with the aftermath of Abu Ghraib was that it was only the "little people" that got the spotlight and nobody else and, by focusing on them, Morris needed to get a lot from them or else his film would end up the same way.

He does this to a point as they discuss in detail what they did and what they saw and it does still have the power to shock and depress. In some regards the anger described makes the violence a little understandable but what I was shocked by was the sheer banality and boredom-inspired viciousness of it all. It helps this aspect that so many of the contributions are delivered in such matter-of-fact manners that it does jar that they don't seem shocked by what they are describing. The truth is probably that they aren't – partly because it was "normal" but also that they have discussed it many times. Everyone is a bit defensive and Morris doesn't ever manage to draw much emotion from them in the telling – factually the material is engaging but Morris never really gets beyond that. While "Taxi to the Dark Side" moved up the chain of command, Morris needed to move into his interviewees' soul – something he doesn't manage to do.

The second failing of the film is the overuse of "recreated" scenes and asides. In Thin Blue Line, it cost him (at very least) an Oscar nomination but here it has a negative impact immediately as you are watching it. With so much shocking reality to discuss and so many real images, some of the recreations are clunky in how out of place they are. I'm not talking about the creative sequences that Morris uses as a bed for dialogue (eg a cellblock full of shredded paper, the letters written back to a partner in the US) but rather the recreations and stuff "around" the pictures. It was unnecessary and distracted from what as real and powerful enough.

The film still works as a good summary of events within Abu Ghraib but it is hard to get excited about it since so much of it feels familiar. The tight focus itself is not an issue but it is when Morris cannot manage to produce searing questions, a bigger picture or intimate soul-searching it doesn't ever do anything that makes it standout in a crowded marketplace.

The well-known documentary filmmaker Errol Morris, who received an Oscar for his 2003 study of Robert McNamara and Vietnam 'The Fog of War,' has put the Abu Ghraib scandal under a microscope, but the result is too limited a picture of events.

Morris' film describes and shows the humiliations, the nude prisoners cuffed in stress positions or forced to masturbate or pile on top of each other with bags or women's underpants on their heads; the man they called "Gilligan" in the fringed blanket with the conical hat standing on a box with fake electrical wiring to his fingers; the howling dogs terrifying a squatting naked man and biting another's leg; the corpse of a man beaten to death packed in bags of ice.

The images, both stills and some fragments of videotapes, have a dramatic and quickly sickening effect. The circumstances of their taking is thoroughly explained. But the result is disappointingly narrow and obsessive, because Morris has allowed the low-ranking Americans implicated by the pictures, the majority of them concerned only with their own fates and future, to be the dominant voices of the film. The exceptions are a crude but more experienced interrogator, a precise but morally numb military investigator, and the angry general Janis Karpinski who was scapegoated because she was commander of the MPs.

Rory Kennedy's 'The Ghosts of Abu Ghraib,' produced for HBO last year, has already presented all this information about the photo scandal--together with the larger context Morris has left out. Alex Gibney's 'Taxi to the Dark Side' thoroughly explored the larger implications--the responsibilities that go all the way up, the distribution of prison abuses throughout Afghanistan, Iran and Guantánamo, the violations of international law and the inadequacy of torture as an interrogation device. By specifically focusing on the beating and death of the taxi driver named Dilawar at the Bagram prison in Afghanistan Gibney showed much more detail than Morris about the specifics of one prisoner and the full extent of the physical brutality of US interrogators and guards. Anyone coming to Morris' film from Kennedy's and Gibney's will find it incomplete.

'Standard Operating Procedure' doesn't follow up on any Iraqis. Perhaps because Morris' mostly unheard questions were aggressive, his talking heads are always on the defensive, repeating that they were only "softening up" the prisoners as instructed. Lynndie England protests that she was in love with her boss, Charles Graner, and just did what he said. They do admit their process included sleep deprivation, hypothermia, loud noises, and also, when they lost patience or just felt like it, random physical abuse. We learn from the more experienced interrogator that his young associates were useless with high value prisoners. We also learn that no worthwhile information came out of interrogations at the prison. Karpinski explains how heavily overpopulated her prisons became, any suspects once held hard to release.

Morris commits several serious stylistic errors. He introduces fake basement-tape video reenactments (a device he has used before) to augment the visuals of the Abu Ghraib abuses--close-ups of "prisoners'" bodies, blood dripping on a uniform, keys going into a lock--so that after a while you aren't sure what is real and what is fake. The genuine images needed no enhancement, and this confusion is a terrible mistake. The score by Danny Elfman with its heavy-handed drumbeat sounds introduces frantic melodrama, also superfluous and in bad taste.

In fact Morris' material, which ought to have been allowed to speak for itself, is permeated by the banality of evil. The words of the MPs, including Megan Ambuhl, Javal Davis, and Jeremy Sivitz, as well as, most notably in this context, the two women amateur photographers, Lynndie England and Sabrina Harman, are notable for their lack of affect. There is no drama about them. Apart for one or two shaky expressions of doubt, awareness that all this wasn't right, especially on the part of Sabrina Harmon, writing to her "wife" Katie back home, they tend to speak as people going about what they believed to be their jobs; doing what others did and what everybody knew was being done at Abu Ghraib. Except, it seems, General Karpinski, because she was traveling from one prison to another, and says the ugliness was hidden from her. Perhaps it was. There's not much effort to question or puncture any of this testimony.

The film's title refers to the army investigator's conclusion that the majority of the photographed humiliations and punishments were "Standard Operating Procedure" and only certain scenes of physical injury could be classified as documenting crimes. This indulgence is something Morris does not explore further, however. 'Taxi to the Dark Side' goes much more thoroughly into the issue of torture. The distinction between torture and humiliation Morris alludes to seems less important than how the whole pattern of sordid conduct at the prisons get started, a topic 'Standard Operating Procedure' doesn't investigate. We have just had President Bush's admission that he knew and approved high-level meetings inside the White House on harsh interrogation tactics. Morris does not set the Abu Ghraib scandal within this larger framework.

We do hear that children were imprisoned and that there were children raped by prisoners and the prisoners were beaten and injured for that. We're briefly told that methods were transferred to Abu Ghraib from Guantánamo. It's all prefaced by a description of what a disgusting place Abu Ghraib was when the MPs and other American staff came to live there--with constant bombardment, because, in violation of international law (but we are not told that) Abu Ghraib was not behind the lines. This is presented elsewhere by some as mitigating circumstance. The low-ranking Abu Ghraib scandal scapegoats were not only just following orders (or "S.O.P."); they were under stress. Stuff happens. Here again, Morris doesn't connect the dots. Some will like that. The much admired, often awarded Morris is a sacred cow. But this time his result seems more repulsive than effective.