Errol Morris is officially the Kubrick of the documentary.
The "director-detective's" latest visual assault is a kinetic meditation on the arcane nature of images in the digital age. Through his trademark craft --combinations of dazzling cinematic reenactments,… More
Errol Morris is officially the Kubrick of the documentary.
The "director-detective's" latest visual assault is a kinetic meditation on the arcane nature of images in the digital age. Through his trademark craft --combinations of dazzling cinematic reenactments, first-person confessionals, atypical theatrical scoring (Danny Elfman replacing Philip Glass here), and haunting interludes of archival footage--- Morris creates an expressionistic collage out of the media-circus that surrounded the Abu Ghraib scandal.
STANDARD OPERATING PROCEDURE provides a buffet of food for thought through its many informative angles, but mostly through its compelling interviews with Lynndie England, Megan Ambuhl and Sabrina Harman (and countless others) about how those infamous photographs came to be and how they affected their lives.
Errol Morris' dynamic observations become frightening dissections of how those unfortunate grunts, some mean spirited, some emotionally weak, and some just flat out dumb ass ignorant kids, sadly became scapegoats for military higher ups who encouraged and gave the orders for the despicable acts. Several elements made up the way those still photos were perceived by the media: their content obviously, the way they were arranged, and how some of the frames were even actually manipulated digitally.
Morris inventively illustrates how a lot more than meets the eye went down that month in 2003. The most shocking and eye-opening part of this whole film for me is the sequence that highlights which of the photographed behavior was considered legal or illegal by the CIA. It really solidifies my understanding of how potentially subjective all images really are.
STANDARD OPERATING PROCEDURE does not ask you to forgive these individuals but it does, along with Sabrina Harman's voice over renditions of letters she wrote home, put a depressingly human face on the whole Abu Ghraib mess.
Already one of the best documentaries of the new millennium I've seen and Errol Morris' personal best since THE FOG OF WAR (2003).