Despite the fact that it covers basically the same terrain as “Restrepo”, I do recommend the Danish documentary “Armadillo” that arrives at the IFC Center in New York on April 8. Like “Restrepo”, it gives you a close-up view of soldiers operating in Taliban-dominated territory in Afghanistan, in this case the Helmand province.

Armadillo was the name of the base that 170 British and Danish troops occupied. Director Janus Metz focuses on a group of his fellow countrymen as they depart from Demark and serve a brief but horrific tour of duty. Like the men in “Restrepo”, they are addicted to violent video games, rough-housing, pornography and other macho pastimes mostly intended to relieve the boredom. This is not a war in which the combatants face off in large-scale set pieces like the Battle of Gettysburg. Mostly, the occupying forces go out on patrols that lead to no encounters with the Taliban who prefer to use IED’s to punish the invaders. In the course of the film, there are repeated injuries due to the devices.

Also, like in “Restrepo”, the villagers openly complain about the hardships they suffer due to the occupation. Mortar attacks directed at the Taliban often result in the loss of civilian life. The soldiers suspect the villagers of secretly backing the Taliban so it is no surprise that they are indifferent to collateral damage.

The big story with “Armadillo” is that a scene that takes place toward the end of the film has led to major soul-searching in Denmark. In the only serious firefight that takes place in the entire film, a Danish soldier throws a hand grenade into a ditch in which four Taliban fighters have taken cover. When the blast leaves them severely wounded but still alive, other soldiers empty their guns on them.

The Guardian reported on the film’s impact:

Guess which film knocked Prince of Persia off the top spot at the Danish box office this week. Sex and the City 2? Valhalla Rising 3? Wrong: it’s a new film called Armadillo, by young Danish director Janus Metz, that has provoked a furious debate in Denmark since its premiere in Cannes last week. The film, its director calculates, has already been the subject of 300 to 400 articles in the Danish press. The Danish minister of defence, Gitte Lillelund Bech, has seen it, as have many other politicians and senior members of the military, who have now commissioned an inquiry into events it shows. There has been such a clamour among the public to see it that the film has been rushed into cinemas this week, almost two months in advance of its original release date.

It is a sign that there are residues of civilization in Denmark that such behavior could have provoked outrage. Those of us who live in America have become inured to the notion that American soldiers are operating as total savages in Afghanistan. If the Danish got worked up about four Taliban wounded combatants being shot to death, what would they make of their soldiers killing Afghans basically for sport?

The current online Rolling Stone has a chilling article on the men of the 3^rd Platoon of the 5^th Stryker Brigade who operated in Kandahar Province. Frustrated by their inability to have direct combat with the Taliban who relied on IED’s just as they had in Helmand Province, they decided to start killing civilians because they were deemed guilty of harboring loyalties to the Taliban anyhow. Like New York City cops, they got into the habit of planting weapons on the bodies of the men they shot. Unlike NY cops, at least at this point, they took pictures of themselves standing over the dead bodies as if they were deer bagged during hunting season. They also chopped off fingers and kept them as trophies.

From the Rolling Stone article by Mark Boal

The article was written by Mark Boal, the author of the screenplay for “In the Valley of Elah”, a good movie about out-of-control veterans of the Iraq war, and the dreadful “Hurt Locker”. Boal writes:

Back at the wall, soldiers arriving on the scene found the body and the bloodstains on the ground. Morlock and Holmes were crouched by the wall, looking excited. When a staff sergeant asked them what had happened, Morlock said the boy had been about to attack them with a grenade. “We had to shoot the guy,” he said.

It was an unlikely story: a lone Taliban fighter, armed with only a grenade, attempting to ambush a platoon in broad daylight, let alone in an area that offered no cover or concealment. Even the top officer on the scene, Capt. Patrick Mitchell, thought there was something strange about Morlock’s story. “I just thought it was weird that someone would come up and throw a grenade at us,” Mitchell later told investigators.

But Mitchell did not order his men to render aid to Mudin, whom he believed might still be alive, and possibly a threat. Instead, he ordered Staff Sgt. Kris Sprague to “make sure” the boy was dead. Sprague raised his rifle and fired twice.

As the soldiers milled around the body, a local elder who had been working in the poppy field came forward and accused Morlock and Holmes of murder. Pointing to Morlock, he said that the soldier, not the boy, had thrown the grenade. Morlock and the other soldiers ignored him.

To identify the body, the soldiers fetched the village elder who had been speaking to the officers that morning. But by tragic coincidence, the elder turned out to be the father of the slain boy. His moment of grief-stricken recognition, when he saw his son lying in a pool of blood, was later recounted in the flat prose of an official Army report. “The father was very upset,” the report noted.

The father’s grief did nothing to interrupt the pumped-up mood that had broken out among the soldiers. Following the routine Army procedure required after every battlefield death, they cut off the dead boy’s clothes and stripped him naked to check for identifying tattoos. Next they scanned his iris and fingerprints, using a portable biometric scanner.

Then, in a break with protocol, the soldiers began taking photographs of themselves celebrating their kill. Holding a cigarette rakishly in one hand, Holmes posed for the camera with Mudin’s bloody and half-naked corpse, grabbing the boy’s head by the hair as if it were a trophy deer. Morlock made sure to get a similar memento.

Despite the fact that this kind of savagery has been going on since October 2001 and that a Democratic president elected on the basis of a return to civilized behavior has largely continued with the status quo, it is amazing that nothing seems to change. Like a nightmare that refuses to end, the war in Afghanistan continues along its bestial path. As a nation that was dedicated early on to building an empire, it is no surprise that the elected officials who swear by its founding values are incapable of changing course, especially since they cannot recognize the Original Sin of Empire.

We shall divert through our own Country a branch of commerce which the European States have thought worthy of the most important struggles and sacrifices, and in the event of peace [ending the American Revolution]…we shall form to the American union a barrier against the dangerous extension of the British Province of Canada and add to the Empire of liberty an extensive and fertile Country thereby converting dangerous Enemies into valuable friends.

–Thomas Jefferson letter to George Rogers Clark, 25 December 1780

On April 22, 2006 I reviewed a documentary titled “The War Tapes” that was made up of footage filmed by members of a New Hampshire National Guard Unit who had been given videocameras by director Deborah Scranton.

This is from that review:

For students of popular culture, the film will evoke two other works almost immediately. When the GI’s speak about their “job” in Iraq, they will remind you of the principals in “Cops,” Fox TV’s long-running “reality show”. Speaking into the camera, the cops talk about how much their career means to them, even if it involves being immersed in their city’s underbelly and being forced to confront “bad guys” on a daily basis at the risk to life and limb. This basically is the attitude that the New Hampshire National Guardsmen exhibit throughout the film, except that the “bad guys” are insurgents rather than crack dealers.

You will also be reminded of “The Perfect Storm,” another film about working class New Englanders filled with bravado and stoicism on another doomed mission. In close quarters either in a tent or in a HUMV, the New Hampshire National Guardsmen trade jibes with each other in dialogue that is strikingly evocative of the characters in “The Perfect Storm.” Although all of the major characters in “The War Tapes” eventually arrive home safely, there is no question that their lives will never be the same.

As fate would have it, within a year Sebastian Junger, the author of “The Perfect Storm”, would find himself in Afghanistan’s Korengal Valley making a movie called “Restrepo” very much in the vein of “The War Tapes”. “Restrepo” was the last name of a Latino member of the unit featured in the film killed in action.  They named their small godforsaken outpost after him, a dubious honor no matter the noble intentions.

The movie was filmed and directed by Junger and Tim Hetherington, both of whom were regular contributors to Vanity Fair magazine, a glitzy publication devoted mostly to gossiping about Eurotrash and hedge fund managers. It is also a place where you can read some first-rate journalism, including a column by James Wolcott who has mentioned the unrepentant Marxist from time to time. In the press notes for “Restrepo”, the directors set down their “non-political” ambitions, by now familiar to anybody who has seen the press releases for “The Hurt Locker”:

The war in Afghanistan has become highly politicized, but soldiers rarely take part in that discussion. Our intention was to capture the experience of combat, boredom and fear through the eyes of the soldiers themselves. Their lives were our lives: we did not sit down with their families, we did not interview Afghans, we did not explore geopolitical debates. Soldiers are living and fighting and dying at remote outposts in Afghanistan in conditions that few Americans back home can imagine. Their experiences are important to understand, regardless of one’s political beliefs. Beliefs can be a way to avoid looking at reality. This is reality.

But In January 2008 Vanity Fair you can read an article by Junger titled “Into the Valley of Death” that basically covers the same ground as the movie. Despite the above disclaimer about not making a political statement, he clearly is pessimistic about the goals of the war:

By many measures, Afghanistan is falling apart. The Afghan opium crop has flourished in the past two years and now represents 93 percent of the world’s supply, with an estimated street value of $38 billion in 2006. That money helps bankroll an insurgency that is now operating virtually within sight of the capital, Kabul. Suicide bombings have risen eightfold in the past two years, including several devastating attacks in Kabul, and as of October, coalition casualties had surpassed those of any previous year. The situation has gotten so bad, in fact, that ethnic and political factions in the northern part of the country have started stockpiling arms in preparation for when the international community decides to pull out. Afghans—who have seen two foreign powers on their soil in 20 years—are well aware of the limits of empire. They are well aware that everything has an end point, and that in their country end points are bloodier than most.

The film consists mostly of cinéma vérité footage of the soldiers dodging insurgent bullets, roughhousing with each other, or meeting with village elders to hear their complaints. This alternates with members of the unit back in civilian life reminiscing about Restrepo, which can best be described as a season in hell.

It would be difficult to exaggerate the alienation from their environment that these soldiers experience. Totally isolated from both the Afghans they supposedly are defending and indifferent apparently to the “rooting out the terrorists” ideology that justifies their presence, they seem more like contestants in a mortal version of the television show “Fear Factor”. Instead of eating worms, they eat bullets.

In one of the more powerful scenes in the film, we see the aftermath of a firefight that left one of their comrades dead. One soldier cannot help but sob. Since the dead man was considered a crack soldier, what chance did the others have? They press on, however, mostly out of loyalty to each other than any over-arching imperialist agenda, a growing tendency in American interventions over the past 30 years or so when the clash between naked reality and textbook ideals becomes impossible to bridge.

The characters in the film are largely forgettable with the exception of a handful. A perpetually smiling and baby-faced Miguel Cortez admits in an interview after he has returned to a “normal” life in the U.S.: “I can’t even sleep, honestly. I’ve been on about four or five different types of sleeping pills, and none of them help. That’s how bad the nightmares are. I prefer not to sleep and not to dream about it. … To sleep and just see the picture in my head is pretty bad.”

Another character has the unlikely name of Misha Pemble-Belkin, the Jewish son of parents he describes as “hippies” who were so antiwar that they would not permit him to play with toy guns. Now he is a tried and true killer just like the rest. The Vanity Fair article fills in some details:

A 22-year-old private named Misha Pemble-Belkin is sitting on the edge of a cot, cutting the pocket off his uniform. On his left forearm Pemble-Belkin has a tattoo of the Endurance, Sir Ernest Shackleton’s ship that became entrapped by sea ice in Antarctica in 1915. “It’s the greatest adventure story ever,” Pemble-Belkin says by way of explanation. He takes the pocket he has just liberated and sews it over a rip in the crotch of his pants, which he is still wearing. The men spend their days clambering around shale hillsides dotted with holly trees, and most of their uniforms are in shreds. Pemble-Belkin uses his free time back at the kop painting and playing guitar, and says that his father was a labor organizer who supports the troops absolutely, but has protested every war the United States has ever been in. His mother sends him letters written on paper she makes by hand.

But the most revealing scenes involve their commanding officer, a Captain Dan Kearney who is obviously more into the imperialist mindset than the men beneath him. In one meeting with the village elders, he admits that his men had killed some innocent villagers in the past but now it was time to put all that past them. As Dan DiMaggio put it in a review of the movie that was posted here, this was singularly arrogant:

In an astounding display of imperial arrogance, the leading U.S. officer, who took over from an apparently even more brutal commander named McKnight (whose watch resulted in many prisoners in Bagram and scores of civilians dead), asks that they “wipe the slate clean” and give the U.S. a fresh start. Can you imagine the Afghan elders – or the Taliban, for that matter – asking the U.S. to “wipe the slate clean” for 9/11, for which they were not even responsible? It also baffles the mind to see U.S. officers assume that the best way to win over Afghans is through bribery, which might help explain why they have found their best allies among the warlords who have made immense profits off the occupation (mirroring the American warlords running Halliburton and Blackwater), while the Taliban at times gains support for at least having some sort of moral code.

Some day an enterprising director will seek out those village elders as well as the insurgents who we know nothing about from “Restrepo” in order to tell their story. Despite their backwardness, they are fighting to expel oppressive foreigners from their native soil—an elementary democratic right that Hollywood is not ready to respect. It will take someone like Gillo Pontecorvo to make that kind of film. God knows we need someone like that right now.

Until that time comes along, “Restrepo” is not a bad introduction to the horrors of imperialism no matter the stated claim of Sebastian Junger to make a movie that was not about politics. It can now be rented from Netflix.