Why Americans Are Tuning out the Disaster in Iraq

The night before last week’s Senate hearings on our “progress” in Iraq, a goodly chunk of New York’s media and cultural establishment assembled in the vast lobby of the Museum of Modern Art. There were cocktails; there were waiters wielding platters of hors d’oeuvres; there was a light sprinkling of paparazzi. Then there was a screening. We trooped like schoolchildren to the auditorium to watch a grueling movie about the torture at Abu Ghraib.

Not just any movie, but “Standard Operating Procedure,” the new investigatory documentary by Errol Morris, one of our most original filmmakers. It asks the audience not just to revisit the crimes in graphic detail but to confront in tight close-up those who both perpetrated and photographed them. Because Mr. Morris has a complex view of human nature, he arouses a certain sympathy for his subjects, much as he did at times for Robert McNamara, the former defense secretary, in his Vietnam film, “Fog of War.”

More sympathy, actually. Only a few bad apples at the bottom of the chain of command took the fall for Abu Ghraib. No one above the level of staff sergeant went to jail, and no one remotely in proximity to a secretary of defense has been held officially accountable. John Yoo, the author of the notorious 2003 Justice Department memo rationalizing torture, has happily returned to his tenured position as a law professor at the University of California, Berkeley. So when Mr. Morris brings you face to face with Lynndie England — now a worn, dead-eyed semblance of the exuberant, almost pixie-ish miscreant in the Abu Ghraib snapshots — you’re torn.

Ms. England, who is now on parole, concedes that what she and her cohort did was “unusual and weird and wrong,” but adds that “when we first got there, the example was already set.” That reflection doesn’t absolve her of moral responsibility, but, like much in this film, it forces you to look beyond the fixed images of one of the most documented horror stories of our time.

Yet I must confess that, sitting in MoMA, I kept looking beyond the frame of Mr. Morris’s movie as well. While there’s really no right place to watch “Standard Operating Procedure,” the jarring contrast between the film’s subject and the screening’s grandiosity was a particularly glaring illustration of the huge distance that separates most Americans, and not just Manhattan elites, from the battle lines of our country’s five-year war. If Tom Wolfe was not in the audience to chronicle this cognitive dissonance, he should have been.

Mr. Morris’s movie starts fanning out to theaters on April 25. We don’t have to wait until then to know its fate. Sympathetic critics will tell us it’s our civic duty to see it. The usual suspects will try to besmirch Mr. Morris’s patriotism. But none of that will much matter. “Standard Operating Procedure” will reach the director’s avid core audience, but it is likely to be avoided by most everyone else no matter what praise or controversy it whips up.

It would take another column to list all the movies and TV shows about Iraq that have gone belly up at the box office or in Nielsen ratings in the nearly four years since the war’s only breakout commercial success, “Fahrenheit 9/11.” They die regardless of their quality or stand on the war, whether they star Tommy Lee Jones (“In the Valley of Elah”) or Meryl Streep (“Lions for Lambs”) or are produced by Steven Bochco (the FX series “Over There”) or are marketed like Abercrombie & Fitch apparel to the MTV young (“Stop-Loss”).