I saw this three days ago, the day it opened in France. I made it a point to read nothing on the movie beforehand—either reviews or articles—though am aware that it is a big box office hit in the US—beyond all expectations—and particularly among conservatives. And I still haven’t read anything about the movie, though will, after writing this. My verdict: It is a reprehensible film. It is so because it makes a hero out of a man who is, in fact, not a hero and who achieved his heroic status—in the eyes of those who accord him this (and they are numerous in l’Amérique profonde, as one sees at the end)—in fighting and killing in a war that America had no business fighting. Navy SEAL Chris Kyle is considered a hero because he killed 160 combatants and other irregulars who were out to kill American soldiers in a war zone. Bully for him. Soldiers protect their own in all wars, no? What else is new in the history of warfare? CPO Kyle, we learn, went beyond the call of duty to protect his buddies. He was a brave man, intrepid even. Bully for him again. One may understand why he was considered a hero within the US military—fellow soldiers called him “the legend”—but there is no rhyme or reason for him to be considered as such by any citizen outside the military.
It would be otherwise, of course, if CPO Kyle had been killing enemy combatants who were at war with America and posed a threat to America inside its borders. Celebrating his feats in the larger society would thus be comprehensible. But this was the Iraq war. The nagging (rhetorical) question that went through my mind throughout the film, in watching Kyle and his fellow soldiers engaged in urban warfare in Fallujah and Ramadi, was WTF were they doing there in the first place? What enemy were they fighting? Now it is established early in the film that Kyle enlisted with the SEALs following 9/11, as a patriotic reflex of an American whose country was attacked. Lots of Americans had that reflex (for the anecdote, in the days after 9/11 I let the US embassy in Paris know that my services were available—including to any intelligence agency—should they want them; I didn’t hear back). After completing SEAL boot camp the film jumps to Kyle in Iraq. But Iraq had nothing to do with 9/11. Iraq posed no threat to America. Now the US government of the time and all sorts of other Americans intoxicated by nationalist hysteria or Washington groupthink believed that Iraq was indeed a threat to the United States, but those who knew something about the Middle East and, more generally, how to analyze and think coherently—which includes myself, obviously—knew this was preposterous and argued it to all and sundry.
At one point in the film, Kyle tells one of his buddies that “we have to kill the enemy here so they don’t come and kill us in New York or San Diego” (approximate quote). That even an ignorant soldier could believe such bullshit by 2005 is breathtaking. The enemy that Kyle & Co were fighting is clearly identified: Abu Musab al-Zarqawi and his Al-Qaida in Iraq (not once is Saddam Hussein and the Ba’athist regime—the ostensible threat to America in 2003—mentioned in the film). Now Zarqawi and AQI were definitely not nice people. I will even agree with Kyle that they were Evil (capital E) (the notion that America is fighting Evil, and not just in Iraq, is evoked more than once in the film). But here’s the thing: America did not invade Iraq to fight Zarqawi and AQI. AQI, which posed no threat to the American homeland, did not even exist when America launched the Iraq war. The very existence of AQI—and its presence in Iraq’s Sunni triangle—was a direct consequence of America’s invasion. And Fallujah being reduced to rubble and its population driven from the city was directly caused by America being there (the scene in the house that the soldiers have stormed—with Kyle demanding to know what the family is doing there and why they hadn’t evacuated the city—is incredible, as if people should naturally abandon their homes and worldly possessions—to looters, criminals, terrorists, whoever—because a foreign army tells them to). None of this is examined in Eastwood’s film. America is in Iraq fighting the enemy because that’s what it’s doing. America is there because it’s there. Fighting Evil there, before it comes for us here.
Further contributing to the film’s reprehensibility is its backhanded celebration of America’s gun culture—and of militaristic values more generally (American society being the only one in the Western world, as Tony Judt observed in one of his later essays, which continues to exalt the military and its values). In the opening scene we see seven-year old Chris in rural Texas bagging a deer on his first hunting trip with his father. Kyle père is teaching his son how to handle firearms. Now I can accept that rural people the world over and since time immemorial hunt and have rifles at home. I don’t relate to it but, for rural folk, that’s just the way they live and I pass no judgment on it. But the moral code that daddy Kyle seeks to instill in his sons around the dinner table—which is underpinned with violence and accompanied by stupid ass references to God and the Lord—is another matter. I’m sorry but Chris Kyle’s father—who was ready to whip his sons with a belt—was an asshole. And then there’s the scene toward the end, of Kyle at home with wife and kids—before he drives off in his pick-up and gets murdered—goofing around the living room and kitchen with a six-shooter, no doubt loaded. Anyone who keeps a loaded handgun at home and in proximity of children—or anyone else—is a reprehensible SOB.
On ‘American Sniper’ as cinema, it’s okay. Bradley Cooper puts in an acceptable performance, though hardly deserves an Oscar nomination for it. Sienna Miller is likewise acceptable as Chris’s wife Taya—she’s certainly attractive—but spends too much of the film weeping over her husband going off on yet another tour with his beloved SEALs (for Chris Kyle, Iraq was a war of choice). And the scenes of their lovey dovey satellite phone conversations while he’s picking off enemy fighters from rooftops or heading into combat stretched credulity. One would think that any soldier who chats up his wife or g.f. on the phone while under fire would be reprimanded by his commanding officer, if not subjected to disciplinary action. Generally speaking and in view of its inescapable political parti pris, I don’t see how anyone outside of Jacksonian America—to borrow from Walter Russell Mead—can possibly adhere to the film and its message. But, as it happens, the early reaction in France has been positive, among both critics and Allociné spectateurs. The French love affair with Clint Eastwood continues. Every last Eastwood movie—including his worst and/or schlockiest—receives a rapturous welcome here and ‘American Sniper’ appears to be no exception. Hélas.
ADDENDUM: A further comment. Toward the end of the film Chris Kyle, in dealing with his PTSD, attends rehab sessions with Iraq war vets who have suffered serious injury (limbs blown off, etc). Some 40,000 American soldiers were killed or wounded in Iraq, many of the latter saved thanks to advances in military medicine, who would have died of their wounds in previous wars. What do Jacksonian, Fox News-watching Americans make of this? In fact, they almost have to uncritically accept the thesis of the film—that America was fighting Evil, no questions asked—as if one were to accept that the Iraq was a catastrophic mistake—the most disastrous foreign policy decision in American history—then there would be no escaping the conclusion that Americans died or had their lives shattered for absolutely nothing. And then there is, of course, the number of Iraqis killed, which, since 2003, is heading upwards of 200,000 (if not more). Now most of those Iraqis have been killed by other Iraqis. But if Iraq in 2003 was a Pandora’s Box, America came in with a baseball bat and smashed that box open. The catastrophe in Iraq happened on America’s watch. And while there’s a lot of blame to go around, the catastrophic situation in Iraq today is ultimately America’s fault.
2nd ADDENDUM: One bit about the movie that caused me to jolt in my seat, but which slipped my mind while writing this post, was the final battle scene, where CPO Kyle finally terminates AQI sniper Mustafa with the golden bullet. The battle took place in Sadr City, which, as any halfway knowledgeable person knows, is the big Shi’ite quartier populaire of Baghdad. But AQI—which has since mutated into ISIS—is Sunni. AQI was killing Shi’ites when it wasn’t killing Americans. Sadr City at the time was Muqtada al-Sadr’s fiefdom, and he and his followers didn’t like AQI, to put it mildly. So on this level the scene makes no sense. Clint Eastwood and his team betrayed inexcusable ignorance here.
A correction: I wrote above that Kyle enlisted with the SEALs after 9/11. In fact, he did so after the 1998 Nairobi/Dar es Salaam bombings.