Imagine what would happen if Osama Bin Laden decided to improve on the quality of his hide-out videos? Imagine that he hires a Madison Ave PR firm and provides them with tens of millions of dollars to make an uber-video to get out his message, a message encased in the trappings of a star studded Hollywood movie. Poison is more easily assimilated if it tastes oh so good. If Osama wanted to make such a movie, he needn't have bothered - because Warner Bros has made it for him.
Syriana is the Jihadist's version of recent Middle East history. Without the slightest equivocation or apology, it states the moral justification of the Islamists' war on America and the West.
The film would be an amazing testament even in a vaccuum, but considering that it is released to the American public and the world audience in the middle of a war in which our soldiers are fighting and dying - a war moreover in which more than 3,000 innocent American civilians have already died - and a war in which the enemy is seeking to wreak greater havoc on our cities - it is simply breathtaking.
Imagine a major Hollywood studio releasing the equivalent movie during WWII. Tokyana, the moral justification for the attack on Pearl Harbor. Berlinyana, understanding and empathy for Hitler and the Nazis.
The movie paints the now hackneyed and expected bleak picture of big oil companies. The U.S. government is portrayed as a monstrous, capitalist group of killers and assassins whose only end goal is, not the liberation of oppressed people or even its own defense and survival, but the security of its own oil interests.
There are many stereotypes: the Machiavelian oil exec, the cold-hearted Washington bureaucrat, the young American idealist (Damon) , the world-weary CIA operative (Clooney), etc. Two young Middle Eastern men are looking for acceptance and purpose for their lives. Where do they find this purpose? They find it in the teachings of a group of radical, Islamic fundamentalists who are training to become terrorists, or, in their and the film's definition, martyrs.
The filmmakers make the audience sit through several “lessons” of the spiritual leaders of this radical group. By relating to the young men, the viewer is asked to swallow the philosophies of their version of the Koran which teaches us that the liberal societies do not offer the answer, nor does failed Christian theology; only the Koran can bring life. Viewers also have to listen to the testimonies of would-be terrorists, and the director forces the audience to take this as the “human interest” story of the movie. That way, when the two young men pilot their boat carrying a bomb into a large, U.S. capitalist oil tanker at the end of the film, we can empathize with these “heroes.” This is the exact same rationale, chapter and verse, that Osama Bin Laden gave for attacking America on 9/11.
You wouldn't know from this movie that America or the West has anything morally worthy of defending. You wouldn't know from this movie that Radical Islam declared War on the West at least thirty years ago, before the inauguration of Jimmy Carter. You wouldn't know from this film, that Radical Islam is in violent conflict against every society on its borders, from Kashmir to the Sudan, from the Caucasus to the Balkans, from Spain to the Philippines. According to this film, its all America's fault.
What is perhaps more shocking than the film, or even the wreckless irresponsibility of the executives who run Warner Bros, is the absence of outrage in the media.
The Academy of Motion Picture Arts and Sciences may not award George Clooney and his slick propagandists with an Oscar. Not to worry, he's already earned his Osama!
The author of this piece is employed in the entertainment industry and, thus, dares not put his name to a word of this.