Jumat, 02 Oktober 2009

Torturing innocents because they are innocent

Al-Rabiah's confessions all follow the same pattern: Interrogators first explain to al-Rabiah the "evidence" they have in their possession (and that, at the time, they likely believed to be true). Al-Rabiah then requests time to pray (or to think more about the evidence) before making a "full" confession. Finally, after a period of time, al-Rabiah provides a fill confession to the evidence through elaborate and incredible explanations that the interrogators themselves do not believe. This pattern began with his confession that he met with Osama bin Laden, continued with his confession that he undertook a leadership role in Tora Bora, and repeated itself multiple other times with respect to "evidence" that the Government has not even attempted to rely on as reliable or credible.

Finaly, al-Rabiah "did not know what to admit..." The Judge then moved on to al-Rabiah's own explanations of how he came to make false confessions, noting that he had stated that, shortly after his arrival at Guantánamo, "a senior [redacted] interrogator came to me and said, 'There is nothing against you. But there is no innocent person here. So, you should confess to something so you can be charged and sentenced and serve your sentence and then go back to your family and country, because you will not leave this place innocent." All the innocent men at Guantánamo were expected to make false confessions, either so that they could continue to be labeled as "enemy combatants" on release, to maintain the illusion that Guantánamo was full of "the worst of the worst," or, as in al-Rabiah's case, so that they could be tricked and transformed into terrorist sympathizers and facilitators. As he also explained:

[M]y interrogators told me they knew I had met with Osama bin Laden, that other detainees had said I met with Osama bin Laden, that there was nothing wrong with simply meeting Osama bin Laden, and that I should admit meeting him so I could be sent home ... In about August 2004, shortly before my CSRT hearing [the tribunal at which al-Rabiah repeated his approved confessions in detail], my interrogators told me the CSRT was just a show that would allow the United States to "save face." My interrogators told me no one leaves Guantánamo innocent, and told me I would be sent home to Kuwait if I "admitted" some of the false things I had said in my interrogations. The interrogators also told me that I would never go home again if I denied these things, because the United States government would never admit I had been wrongly held.
Judge Kollar-Kotelly wrote:
The record contains evidence that al-Rabiah's interrogators became increasingly frustrated because his confessions contained numerous inconsistencies or implausibilities. As a result, al-Rabiah's interrogators began using abusive techniques that violated the Army Field Manual and the 1949 Geneva Convention Relative to the Treatment of Prisoners of War. The first of these techniques included threats of rendition to places where al-Rabiah would either be tortured and/or would never be found.
She added, pointedly, "These abusive techniques did not result in any additional confessions from al-Rabiah, although he continued to parrot his previous confessions with varying degrees of consistency." Her conclusion:
The evidence in the record reflects that, in 2001, al-Rabiah was a 43 year old who was overweight, suffered from health problems, and had no known history of terrorist activities or links to terrorist activities. He had no military experience except for two weeks of compulsory basic training in Kuwait, after which he received a medical exemption. He had never traveled to Afghanistan prior to 2001. Given these facts, it defied logic that in October 2001, after completing a two-week leave form at Kuwait Airlines where he had worked for twenty years, al-Rabiah traveled to Tora Bora and began telling senior al-Qaeda leaders how they should organize their supplies in a six square mile mountain complex that he had never previously seen and that was occupied by people whom he had never met, while at the same time acting as a supply logistician and mediator of disputes that arose among various fighting factions" — Huffington Post

Kamis, 01 Oktober 2009

The best of Alfred Hitchcock: Notorious

1. Notorious
2. Rear Window
3. North By Northwest
4. Vertigo
5. Strangers on a Train
6. The Man Who Knew Too Much (1956)
7. To Catch a Thief
8. The Trouble With Harry
Notorious, because its has everything — Grant at his darkest, Bergman as a drunk, a three-minute kiss, a great duplicitous plot, and the sleepiest of rescues. Rear Window is endlessly inviting. North by Northwest prefigures everything you see at the cinema during the summer. I'm don't fall for the woozy spell of Vertigo as hard as some, but it is his greatest love story, just as Strangers on a Train is his tightest plot, and The Trouble With Harry has the best weather.

The best of Tom Hanks: Big

1. Big
2. Splash
3. Castaway
4. Charlie Wilson's War
5. Philadelphia
6. Turner and Hooch
7. Sleepless In Seattle
8. Toy story 2
This one was easy. Big, hands down. Then Splash, obviously. Synaptic masterclasses, both of them, with Hanks as loose and rolling and quick as great sportsmen can be. Ali, Jordan and Federer come to mind. Of his 'serious' roles, my favorite is Castaway — particularly the 40 minutes of largely silent cinema, a measure of true movie star greatness. Charlie' Wilson's War is the first time he's gone rogue and taken us with him. Turner and Hooch: speaks for itself. Toy story 2: the better Woody film.

The best of Michael Mann: Last of the Mohicans

1. The Last of the Mohicans
2. Heat
3. Manhunter
4. Collateral
5. Thief
6. Ali
7. Public Enemies
8. The Insider
The first two were the major tussle here, but Last of the Mohicans is the rarer creature: a historical drama with a pulse. The romance remains the best in recent memory and the ending is majesty itself. Heat is a magnificent-looking beast, as chilly as gun metal, but the marriages are pretentiously written; amongst the women, only Ashley Judd registers. Manhunter has a better Hannibal Lecter than Silence of the Lambs.

The best of Woody Allen: Manhattan

1. Manhattan
2. Annie Hall
3. Play it Again Sam
4. The Purple Rose of Cairo
5. Bullets Over Broadway
6. Sweet and Lowdown
7. Zelig
8. Hannah and Her Sisters
9. Manhattan Murder Mystery
10. Sleeper
This was a tough one because he's made so many, but a few axioms helped. The funny ones are better. Diane Keaton was his best leading lady. Manhattan rather than Annie Hall because it summons a whole world. Play It Again Sam I regard it as the ultimate one-stop-shop Woody Allen movie — the kind of film everyone started to make in the eighties and nineties. I have a special fondness for what I call light bulb movies, the ones rolling along on a single bright idea: Zelig, Purple Rose, Bullets. My wife's going to kill me over Hannah and Her Sisters not being higher, but what can I say. I find it a bit chewy.

Rabu, 30 September 2009

The best of Mike Leigh: Naked

1. Naked
2. Life is Sweet
3. Meantime
5. Topsy Turvy
6. Secrets and Lies
7. Happy Go Lucky
8. Vera Drake
9. High Hopes
It's weird that I should go for Naked when Leigh is so good at ensembles. Maybe that's what makes David Thewliss's performance feel so utterly forsaken. Meantime is an underated gem with Gary Oldman and Tim Roth as wanabee skinheads. Secrets and Lies has slipped in my estimation, like a lot of masterpieces, but Topsy Turvy remains a genuine revelation. Leigh should do more period dramas. He's just the dose of vinegar the genre needs.

The best of Martin Scorsese: Mean Streets

1. Mean Streets
2. Alice Doesn't Live Here Anymore
3. Goodfellas
4. Taxi Driver
5. Kundun
6. Raging Bull
7. After Hours
8. The Age of Innocence
His career almost looks varied from here! Alice Doesn't Live Here Anymore feels like something from alternative universe, one where he didn't so married to the mob; I wish he'd make more pictures about women. The rest speak for themselves. I haven't dared go back to Kundun in case it isn't the movie I remember it to be. It doesn't matter — it was perfect when I saw it. The only one I had a hard time placing was Taxi Driver. It belongs on its own — a list of one.