Skip to Content

Richard Falk: Despicable Savages

American Sniper is arch propaganda which glorifies American offensive warfare while marginalizing Iraqi suffering.

https://www.guernicamag.com/wp-content/uploads/2015/02/4780823370_83743d578f_z.jpg
Image from Flickr user chuck holton.

By Richard Falk
By arrangement with Richard Falk.

American Sniper is a fictionalized movie version of the war stories associated with Chris Kyle’s experience as a Navy SEAL in the Iraq War, as recounted in his best-selling memoir of the same name. The film can be viewed from a variety of angles, including even as one more indictment of war-as-hell. A second line of interpretation focuses on the intense psychological tensions experienced by this single American soldier and his comrades caught up in the horrors of urban warfare in Iraq. A connected theme are the adverse impacts of Kyle’s war service on his family that is made to cope with the complex and contradictory traumas of his absence (confronting his potential death on a distant battlefield) and his alienated presence whenever he returns, a scarred individual who longs to go back to Iraq to resume his assigned role as “legendary sniper.” Multiple scenes in the movie portray Kyle as haunted by his service. In his book, Kyle consistently treats his victims as “savage, despicable.” At one point he makes such statements as “I only wish I had killed more,” “I loved what I did. I still do. If circumstances were different—if my family didn’t need me—I’d be back in a heartbeat. I’m not lying or exaggerating to say it was fun. I had the time of my life being a SEAL.” The film avoids giving emphasis such to extreme statements, but it does portray this sniper as convinced he was cut out for the combat role given to him, and that he seems more alive and content when active in the killing fields of Iraq than when back home.

Kyle’s own violent death is also metaphorically significant—actual events disclosed by text in the film, but not depicted onscreen: Kyle was killed by an American soldier wounded in Iraq whom he had helped at a nearby veterans’ hospital where he worked at the advice of a psychiatrist to overcome his own version of PTSD. Such an ending to his life conveys the irony that for Kyle the more dangerous battlefield turned out to be in the neighborhood of his family residence, his assailant not the evil “savages” he mowed down in Iraq but a fellow American veteran who had experienced those very same encounters. Kyle had survived four tours of duty as a sniper in the midst of the most bloody military operations in Iraq, but these survival skills proved irrelevant to the minefields of innocence that now made the American countryside a dangerous war zone.

From box office success and right-wing praise, American Sniper, is obviously most commonly regarded as a celebration of Chris Kyle as war hero who deserves the thankful praise of the country. From this outlook, Kyle killed enemies of America at great risk and cost to himself, and spared the country a repetition of the 9/11 attacks. It is this self-serving and essentially distorted vindication of the Iraq War that the film presupposes, even to the extent of having Kyle watch on TV as the plane strikes the World Trade Center, with a quick scene shift in the movie to waging war against those presupposed to be the foot soldiers of Al Qaeda in Iraq. Embedded in this view was a double false narrative that the American mission in Iraq was to carry out a necessary counter-terrorism operation linked to the 9/11 attacks and that the Iraqis being killed in Falluja and elsewhere should be perceived as “terrorists” rather than as fighters against an invasion and occupation of their country by a foreign power that disrespects their religion, culture, and sovereignty.

Eastwood may have aspired to tell an apolitical story, but if so, he has failed badly.

These narratives dominated my perception of the movie, although those associated with its production deny such lines of interpretation. Clint Eastwood (the director and producer) and Bradley Cooper (who plays Kyle in the film) have publicly questioned employing a political optic in commentary on the film. They insist, in contrast, that the movie was “a character study” of Kyle and “apolitical” in the sense of not taking a position pro- or anti- Iraq War. Eastwood has tried to lend credibility to his claim by pointing out that he opposed the Iraq War, and was even skeptical about Afghanistan. Yet whatever he privately feels this not how most viewers will experience the film, either being enthralled by Kyle’s exploits or appalled by them. Eastwood may have aspired to tell an apolitical story, but if so, he has failed badly.

The Iraq War was a war of aggression undertaken in 2003 despite the rejection of a well-orchestrated (and misleading) American plea to the UN Security Council for authorization. Against such a background, the attack on Iraq and subsequent occupation were widely regarded as international crimes bearing resemblance to the category of aggressive warfare for which German and Japanese leaders were punished for waging after World War II. In this light, the Iraqi violence associated with the hostile American occupation needs to be portrayed as a unilateral repudiation of the limits set by international law and the UN Charter on recourse to war by the world’s most powerful country. Additionally, American Sniper depicts the doomed efforts of an outgunned society to resist a militarily dominant foreign invader that is imposing its will on the country’s future by force of arms. Such a viewing is not meant to imply that we need to endorse some of the horrific Iraqi tactics relied upon, but it should remind us that presenting the Iraqis as “evil” and as “savages” functions in the film as an unchallenged display of Islamophobic propaganda, and cannot be credibly explained away as a realistic exploration of a war hero’s temperament and struggle for sanity and survival. American Sniper also presents Kyle’s story in such a way as to avoid any self-criticism directed at the American mission in Iraq.

Even most anti-war portrayals of these American wars accept the dehumanization of the foreign others.

The movie also lacks redeeming artistic merit. It is relentless and repetitive in portraying battle scenes of intensity intertwined with Kyle’s tormented relationship with his wife and efforts to become a father to their two children during his brief interludes of home leave between military assignments. We learn nothing about the realities of our world beyond a tired rendering of the embedded post-9/11 polemic on the necessity of foreign wars to keep America safe from evil forces lurking in the Islamic world. This orthodoxy is not even interrogated, much less rejected. And nowhere in the film is there any acknowledgement that the United States in Iraq was acting in defiance of international law and causing great devastation and suffering to a totally vulnerable foreign country, as well as producing a massive displacement of the civilian population. Leaving behind a devastated country and widespread chaos. The Iraqi experience of such carnage in their own country is treated as irrelevant, and is reminiscent of Vietnam War films that were mostly devoted to explorations of the victimization of the young Americans caught up in an experience of war that they could neither understand nor win, while overlooking almost altogether the massive suffering being inflicted on a foreign people in a distant land. That is, even most anti-war portrayals of these American wars accept the dehumanization of the foreign others.

For me the most significant impressions resulting from American Sniper’s narrative of the Iraq War are as follows:

  • the striking imbalance between the sophisticated military technology at the disposal of the United States versus the primitive weaponry in the possession of the Iraqi adversaries, creating an overwhelming impression that the Iraq War was more “a hunt” than “a war;” such an impression is somehow deepened by a scene in the film in which Kyle is teaching his very young son to hunt for deer;
  • the failure to make any effort at all to understand the experience of this war from the perspective of the Iraqis, creating the absurd impression that the only victims deserving empathy were Americans like Kyle who had endured the torments of warfare and suffered its admittedly disorienting consequences; the emotions of remorse as associated with the harm done to Iraq and Iraqis is no where to be found in the film.

American Sniper is wildly pro-American for most domestic viewers, and severely anti-American for most foreign viewers.

What may be disturbing is the radical subjectivity of likely audience responses. In America, great popularity of mostly uncritical commentary on American Sniper, reinforcing the regressive national mood of glamorizing bloody military exploits as the most admirable expression of true patriotism. Elsewhere in the world the perception is likely to be quite opposite: American Sniper inducing anti-American attitudes either out of fear or resentment or both, solidifying the global image of the United States as a cruel geopolitical bully. That is, American Sniper is wildly pro-American for most domestic viewers, and severely anti-American for most foreign viewers. This gap in subjectivities exhibits the degree to which Americans are living in a bubble of their own devising.

It is highly unlikely that many Americans will appreciate this disparity of perception, and even fewer will pause long enough to assess its significance. If more of us could see ourselves as we are seen in the mirror of foreign reactions it might help end this unhealthy national romance with permanent war that started after World War II with the Cold War and continues now in the form of the “War on Terror.” Such a pattern of delusional geopolitics will never produce peace and security in the twenty-first century, and will fatally divert attention from meeting the challenges of humanity associated with climate change, nuclear weapons, poverty, and extremism. To question this American domination project is to antagonize the entrenched bureaucratic, media, and neoliberal forces that benefit from endless war making and its associated expenditures of trillions. In the end it is this grand project of late capitalism that American Sniper indirectly vindicates, thereby burdening the nation and the world, perhaps fatally.

Richard Falk is an international law and international relations scholar who taught at Princeton University for forty years. Since 2002 he has lived in Santa Barbara, California, and taught at the local campus of the University of California in Global and International Studies and since 2005 chaired the Board of the Nuclear Age Peace Foundation.

Readers like you make Guernica possible. Please show your support.

Tagged with:

You might also like

Leave a comment




Anti-Spam Quiz:

Subscribe without commenting