Gary Younge writes: Say what you like about the film American Sniper, and people have, you have to admire its clarity. It’s about killing. There is no moral arc; no anguish about whether the killing is necessary or whether those who are killed are guilty of anything. “I’m prepared to meet my maker and answer for every shot I took,” says Bradley Cooper, who plays the late Chris Kyle, a navy Seal who was reputedly the deadliest sniper in American history. There is certainly no discursive quandary about whether the Iraq war, in which the killing takes place, is either legal or justified. “I couldn’t give a flying fuck about the Iraqis,” wrote Kyle in his memoir, where he refers to the local people as “savages”.

The film celebrates a man who has a talent for shooting people dead when they are not looking and who, apparently, likes his job. “After the first kill, the others come easy,” writes Kyle. “I don’t have to psych myself up, or do anything special mentally. I look through the scope, get my target in the crosshairs, and kill my enemy before he kills one of my people.”

Americans are celebrating the film. It has been nominated for six Oscars and enjoyed the highest January debut ever. When Kyle kills his rival, a Syrian sniper named Mustafa, with a mile-long shot, audiences cheer. It has done particularly well with men and in southern and midwestern markets where the film industry does not expect to win big. And while its appeal is strong in the heartland it has travelled well too, providing career-best opening weekends for Clint Eastwood in the UK, Taiwan, New Zealand, Peru and Italy.

And so it is that within a few weeks of the developed world uniting to defend western culture and Enlightenment values, it produces a popular celluloid hero who is tasked not with satirising Islam, but killing Muslims. [Continue reading…]