A Nasty Business

Gathering "good intelligence" against terrorists is an inherently brutish enterprise, involving methods a civics class might not condone. Should we care?

Intelligence is capital," Colonel Yves Godard liked to say. And Godard undeniably knew what he was talking about. He had fought both as a guerrilla in the French Resistance during World War II and against guerrillas in Indochina, as the commander of a covert special-operations unit. As the chief of staff of the elite 10th Para Division, Godard was one of the architects of the French counterterrorist strategy that won the Battle of Algiers, in 1957. To him, information was the sine qua non for victory. It had to be zealously collected, meticulously analyzed, rapidly disseminated, and efficaciously acted on. Without it no anti-terrorist operation could succeed. As the United States prosecutes its global war against terrorism, Godard's dictum has acquired new relevance. Indeed, as is now constantly said, success in the struggle against Osama bin Laden and his minions will depend on good intelligence. But the experiences of other countries, fighting similar conflicts against similar enemies, suggest that Americans still do not appreciate the enormously difficult—and morally complex—problem that the imperative to gather "good intelligence" entails.

The challenge that security forces and militaries the world over have faced in countering terrorism is how to obtain information about an enigmatic enemy who fights unconventionally and operates in a highly amenable environment where he typically is indistinguishable from the civilian populace. The differences between police officers and soldiers in training and approach, coupled with the fact that most military forces are generally uncomfortable with, and inadequately prepared for, counterterrorist operations, strengthens this challenge. Military forces in such unfamiliar settings must learn to acquire intelligence by methods markedly different from those to which they are accustomed. The most "actionable," and therefore effective, information in this environment is discerned not from orders of battle, visual satellite transmissions of opposing force positions, or intercepted signals but from human intelligence gathered mostly from the indigenous population. The police, specifically trained to interact with the public, typically have better access than the military to what are called human intelligence sources. Indeed, good police work depends on informers, undercover agents, and the apprehension and interrogation of terrorists and suspected terrorists, who provide the additional information critical to destroying terrorist organizations. Many today who argue reflexively and sanctimoniously that the United States should not "over-react" by over-militarizing the "war" against terrorism assert that such a conflict should be largely a police, not a military, endeavor. Although true, this line of argument usually overlooks the uncomfortable fact that, historically, "good" police work against terrorists has of necessity involved nasty and brutish means. Rarely have the importance of intelligence and the unpleasant ways in which it must often be obtained been better or more clearly elucidated than in the 1966 movie The Battle of Algiers. In an early scene in the film the main protagonist, the French paratroop commander, Lieutenant Colonel Mathieu (who is actually a composite of Yves Godard and two other senior French army officers who fought in the Battle of Algiers), explains to his men that the "military aspect is secondary." He says, "More immediate is the police work involved. I know you don't like hearing that, but it indicates exactly the kind of job we have to do."

I have long told soldiers, spies, and students to watch The Battle of Algiers if they want to understand how to fight terrorism. Indeed, the movie was required viewing for the graduate course I taught for five years on terrorism and the liberal state, which considered the difficulties democracies face in countering terrorism. The seminar at which the movie was shown regularly provoked the most intense and passionate discussions of the semester. To anyone who has seen The Battle of Algiers, this is not surprising. The late Pauline Kael, doyenne of American film critics, seemed still enraptured seven years after its original release when she described The Battle of Algiers in a 900-word review as "an epic in the form of a 'created documentary'"; "the one great revolutionary 'sell' of modern times"; and the "most impassioned, most astute call to revolution ever." The best reviews, however, have come from terrorists—members of the IRA; the Tamil Tigers, in Sri Lanka; and 1960s African-American revolutionaries—who have assiduously studied it. At a time when the U.S. Army has enlisted Hollywood screenwriters to help plot scenarios of future terrorist attacks, learning about the difficulties of fighting terrorism from a movie that terrorists themselves have studied doesn't seem farfetched.

In fact, the film represents the apotheosis of cinéma vérité. That it has a verisimilitude unique among onscreen portrayals of terrorism is a tribute to its director, Gillo Pontecorvo, and its cast—many of whose members reprised the real-life roles they had played actually fighting for the liberation of their country, a decade before. Pontecorvo, too, had personal experience with the kinds of situations he filmed: during World War II he had commanded a partisan brigade in Milan. Indeed, the Italian filmmaker was so concerned about not giving audiences a false impression of authenticity that he inserted a clarification in the movie's opening frames: "This dramatic re-enactment of The Battle of Algiers contains NOT ONE FOOT of Newsreel or Documentary Film." The movie accordingly possesses an uncommon gravitas that immediately draws viewers into the story. Like many of the best films, it is about a search—in this case for the intelligence on which French paratroops deployed in Algiers depended to defeat and destroy the terrorists of the National Liberation Front (FLN). "To know them means we can eliminate them," Mathieu explains to his men in the scene referred to above. "For this we need information. The method: interrogation." In Mathieu's universe there is no question of ends not justifying means: the Paras need intelligence, and they will obtain it however they can. "To succumb to humane considerations," he concludes, "only leads to hopeless chaos."

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