Zero Dark Thirty
Perhaps evoking anger is what Bigelow and her screenwriting collaborator Mark Boal (the pair’s last film, the fervently, bafflingly esteemed Hurt Locker, won them both Oscars) had in mind. I’m still not sure. The two have been sticking to their blandly evasive story of intent: the idea, they say, was to mingle journalism and entertainment, revealing recent, largely classified events to a vested public in neutral, experiential terms. But where its sympathies aren’t obvious, Zero Dark Thirty’s pretense of a strict, presentational style is undermined by the subject matter, so that context, subtext, and sequence swell to fill the film’s meticulous gaps in character, meaning, and moral perspective.(1)
Last year, Rep. Peter King urged an investigation into exactly how much access the producers of Zero Dark Thirty, a film about the killing of Osama bin Laden, were give to confidential details by the Central Intelligence Agency.
Today, according to a report, the Pentagon's inspector general referred one possible leak—the classified name of a Special Operations Command office who helped plan the raid—to the Department of Justice investigators, a disclosure that King said might place our national security at risk.
In a court filing yesterday, an attorney for the Justice Department conceded the CIA had "inadvertently overlooked" a four- to five-inch stack of documents that relate to an upcoming Kathryn Bigelow movie "Zero Dark Thirty" about the killing of Osama bin Laden.