The Sympathizer
As always, money solved the problem. After some strong persuasion on my part, Violet agreed to double the wages for those extras playing Viet Cong, an incentive that allowed these freedom fighters to forget that playing those other freedom fighters had once been so repugnant an idea. Part of what they found repugnant was that some of them would be called on to torture Binh and rape Mai. My relationship with the Auteur began to unravel around the question of Mai’s rape, although he was already irritated with me for speaking up on behalf of the extras in regards to their salary. Undeterred, I sat down at his lunch table the day before the filming of her rape scene and asked him whether a rape was really necessary. It just seems a little heavy-handed, I said. A little shock treatment never hurt an audience, he said, pointing at me with his fork. Sometimes they need a kick in the ass so they can feel something after sitting down for so long. A slap on both cheeks, and I don’t mean the ones on their faces. This is war, and rape happens. I have an obligation to show that, although a sellout like you obviously would disagree.
The unprovoked attack stunned me, “sellout” vibrating in my mind with the electrical colors of a Warhol painting. I am not a sellout, I finally managed to say. He snorted. Isn’t a sellout what your people would call someone who helps a white man like me? Or is “loser” a better term?
On this latter point I could not disagree. The man who I presented myself as did belong to the losing side, and pointing out that the American side had lost, too, would not help matters any. All right, a loser is what I am, I said. I’m a loser for believing in all the promises your America made to people like me. You came and said we were friends, but what we didn’t know was that you could never trust us, much less respect us. Only losers like us couldn’t have seen what’s so obvious now, how you wouldn’t want anyone for your friend who actually wanted to be your friend. Deep down you suspect only fools and traitors would believe your promises.
It was not that he let me speak uninterrupted. That was not his style. Oh, that’s rich! he said soon after I began. A moral runt sucks at my teats. A know-it-all who doesn’t know anything, an idiot savant minus the savant. You know who else has an opinion about everything that no one pays any attention to? My senile grandmother. You think that because you went to college people should listen to what you say? Too bad you’ve got a bachelor of science in bullshit.
Perhaps I went too far when I invited him to perform fellatio on me, but he also went too far in threatening to kill me. He’s always saying he’s going to kill somebody, Violet said after I informed her of what happened. It’s just a figure of speech. Promising to gouge out my eyes with a spoon and force-feeding me with them hardly sounded figurative, any more than the depiction of Mai’s rape was simply figurative. No, the rape was a brutal act of the imagination, at least as evidenced by the script. As for the actual shooting of the scene, only the Auteur, a handful of select crew, the four rapists, and Asia Soo herself were present. I would have to wait for a year to see the scene myself, at a raucous movie theater in Bangkok. But I was an eyewitness to James Yoon’s master scene two weeks later, for which he was stripped naked from the waist up and strapped to a plank. The plank was propped on the body of an extra playing a dead militiaman, leaving the somewhat anxious-looking James Yoon to lie with his head angled toward the earth, braced for the water cure that he was about to receive from the same four Viet Cong who had raped Mai. Standing by James Yoon, the Auteur addressed the extras through me, although he never once looked at me, the two of us no longer on speaking terms.
At this point in the script, you’ve just made first contact with your enemy, he said to the rapists. The Auteur had picked them because of the particular ferocity they had displayed in various scenes, as well as their distinctive physical features: the rotten banana brownness of their skin and the reptilian slits of their eyes. You ambushed a patrol and this is the sole survivor. He’s an imperialist puppet, a lackey, a stooge, a traitor. There’s nothing worse in your eyes than someone who sells out his country for some rice and a couple of dollars. As for you, your legendary battalion’s been cut in half. Hundreds of your brothers are dead, and hundreds more will die in the battle to come. You’re intent on sacrificing yourself for the fatherland but you’re naturally fearful. Now comes this sniveling son of a bitch, this backstabber with yellow skin but a white soul. You hate this bastard. You’re going to make him confess all his reactionary sins, then make him pay for them. But most of all, remember this: have fun, be yourselves, and just act natural!
These instructions caused some confusion among the extras. The tallest one, and the ranking noncommissioned officer, a sergeant, said, He wants us to torture this guy and look like we’re enjoying ourselves, right?
The shortest extra said, But what’s that got to do with acting natural?
The tall sergeant said, He tells us that every time.
But it’s not natural to act like a VC, Shorty said.
What’s wrong? the Auteur said.
Yes, what’s wrong? James Yoon said.
Nothing wrong, the tall sergeant said. We okay. We number one. Then he switched back to Vietnamese and told the others, Look. Who cares what he says. He wants us to act natural but we got to act unnatural. We are motherfuckin’ VC. Got it?
They certainly did. Here was method acting at its finest, four resentful refugees and former freedom fighters imagining the hateful psychology of the freedom fighters on the other side. With no more prodding from the Auteur once the film started rolling, this gang of four began to howl, slither, and slather over the object of their hatred. At this point in the script, James Yoon’s character of Binh, a.k.a. Benny, had been caught on a probe led by the A-Team’s only black soldier, Sergeant Pete Attucks. As established in an early anecdote, Attucks traced his genealogy two centuries back to Crispus Attucks, martyred by the British Redcoats in Boston and the first famous black man to sacrifice his life for the cause of white people. Once Attucks’s genealogy had been explained, his fate was sealed with superglue. In due time, he stepped into a booby trap, a bear-claw clamp made of bamboo spikes that seized his left foot. While the rest of the Popular Forces squad was handily exterminated, he and Binh fired back until Attucks lost consciousness and Binh ran out of ammunition. When the Viet Cong captured them, they committed one of their infamous, heinous acts of desecration on Attucks, castrating him and stuffing his manhood in his mouth. This, according to Claude in his interrogation course, was something certain Native American tribes also inflicted on trespassing white settlers, despite being of a different race thousands of miles away and more than a century past. See? Claude said, showing us the slide of an archaic black-and-white illustration depicting such an indigenous massacre. He followed this with another slide, a black-and-white photograph featuring the similarly mutilated corpse of a GI captured by the Viet Cong. Who says we don’t share a common humanity? Claude said, advancing to the next slide of an American GI urinating on a Viet Cong corpse.
Binh’s fate now rested in the hands of these Viet Cong, who reserved their scarce water not for bathing but for torture. While James Yoon (or his stunt double, in another set of shots) was strapped to the plank, a dirty cloth was wrapped around his head. One of the VC then slowly poured water from a foot above Binh’s head onto the cloth, using Attucks’s own canteens. Fortunately for James Yoon, the water torture only occurred in the shots involving the stuntman. Under the rag, the stuntman had his nostrils sealed and a tube for breathing in his mouth, since one cannot, of course, breathe under the cascade. The sensation suffered by the victim was close to drowning, or so I have been told by prisoners who have survived being put to the question, as the Spanish inquisitors described the infliction of the water cure. Again and again the question was asked of James Yoon, and while the water was surging onto his face, the VC clustered around, cursing, kicking, and punching him—all in simulation, of course. Such thrashing! Such gurgling! Such heaving of the breast and belly! After a whil
e, out under a tropical sun as sultry as Sophia Loren, it was not just James Yoon but even the extras who started to sweat from their efforts. This was what few people realize—it’s hard work to beat somebody. I have known many an interrogator who has strained a back, pulled a muscle, torn a tendon or a ligament, even broken fingers, toes, hands, and feet, not to mention going hoarse. For while the prisoner is screaming, crying, choking, and confessing, or attempting to confess, or simply lying, the interrogator must produce a steady stream of epithets, insults, grunts, demands, and provocations with all the concentration and creativity of a woman manning a dirty-talk sex line. It takes significant mental energy to be nonrepetitive in heaping verbal abuse, and here, at least, the extras faltered in their performance. Blame should not be directed at them. They were not professionals, and the script merely said, VC interrogators curse and berate Binh in their own language. Left to improvise, the extras proceeded to give a repetitive lesson in gutter Vietnamese no one on set would ever forget. Indeed, while most of the crew never learned how to say “thank you” or “please” in Vietnamese, by the end of the shoot everyone knew how to say “fuck your mother,” or “motherfucker,” depending on how one translates du ma. I never cared much for the obscenity myself, but I could not help admiring how the extras squeezed every ounce of juice from the lime of it, spitting it out as a noun, verb, adjective, adverb, and exclamation, lending it intonations of not only hate and anger, but even, at some points, sympathy. Du ma! Du ma! Du ma!
Then, after the beating, cursing, and application of the water cure, the wet cloth would be unwrapped from Binh’s face to reveal James Yoon, who knew this was his best chance for a supporting actor Oscar. He had been disposed of many times before on-screen as the evanescent Oriental, but none of those deaths possessed this agony, this nobility. Let’s see, he had told me one night at our hotel’s bar, I’ve been beaten to death with brass knuckles by Robert Mitchum, knifed in the back by Ernest Borgnine, shot in the head by Frank Sinatra, strangled by James Coburn, hanged by a character actor you don’t know, thrown off a skyscraper by another one, pushed out the window of a Zeppelin, and stuffed in a bag of laundry and dropped in the Hudson River by a gang of Chinese guys. Oh, yes, I was also disemboweled by a squad of Japanese. But those were all quick deaths. All I ever got was a few seconds of screen time at most and sometimes barely that. This time, though—and here he trotted out the giddy smile of a freshly crowned beauty pageant queen—it’s going to take forever to kill me.
So whenever that cloth was unwrapped, and it was unwrapped many a time during the interrogation session, James Yoon gorged on the scenery with the starved fervor of a man who knew he was not going to be upstaged for once by the perennially cute and unbeatable little boy whose mother would not allow him to watch this scene. He grimaced, he groaned, he grunted, he cried, he wept, he bawled, all with real tears hauled up by the buckets from some well deep inside his body. After this, he yelled, he screamed, he shrieked, he wriggled, he twisted, he contorted, he thrashed, and he heaved, the climax being when he vomited, a chunky regurgitated soup of his salty, vinegary breakfast of chorizo and eggs. At the conclusion of this extended first take there was only cathedral silence on the part of the crew, stunned as they regarded what was left of James Yoon, as scarified and beaten as an uppity slave on an American plantation. The Auteur himself came with a wet towel, knelt by the still strapped-down actor, and tenderly wiped the vomit from James Yoon’s face. That was amazing, Jimmy, absolutely amazing.
Thank you, James Yoon gasped.
Now let’s try it one more time, just to be sure.
In fact, six more takes were required before the Auteur declared himself satisfied. At noon, after the third take, the Auteur had asked James Yoon if he wanted to break for lunch, but the actor had shuddered and whispered, No, don’t unstrap me. I’m being tortured, aren’t I? While the rest of the cast and crew retired to the somnolent shade of the canteen, I sat by James Yoon and offered to shelter him with a parasol, but he shook his head with tortoise determination. No, dammit, I’m seeing this through. It’s only an hour in the sun. People like Binh went through worse, didn’t they? Much worse, I agreed. James Yoon’s harrowing experience would at least be finished today, or so he hoped, whereas a real prisoner’s mortification continued for days, weeks, months, years. This was true of those captured by my communist comrades, according to our intelligence reports, but it was also true of those interrogated by my colleagues in the Special Branch. Did the Special Branch interrogations take so long because the policemen were being thorough, unimaginative, or sadistic? All of the above, said Claude. And yet the lack of imagination and the sadism contradict the thoroughness. He was lecturing to a classroom of these secret policemen in the National Interrogation Center, the unblinking eyes of the windows looking out onto the Saigon dockyards. The twenty pupils of his subterranean specialty, including myself, were all veterans of the army or police, but we were still intimidated by his authority, the way he held forth with the pedigree of a professor at the Sorbonne or Harvard or Cambridge. Brute force is not the answer, gentlemen, if the question is how to extract information and cooperation. Brute force will get you bad answers, lies, misdirection, or, worse yet, will get you the answer the prisoner thinks you want to hear. He will say anything to stop the pain. All of this stuff—here Claude waved his hand at the tools of the trade assembled on his desk, much of it made in France, including a billy club, a plastic gasoline container repurposed for soapy water, pliers, a hand-cranked electrical generator for a field telephone—all of it is useless. Interrogation is not punishment. Interrogation is a science.
Myself and the other secret policemen dutifully wrote this down in our notebooks. Claude was our American adviser, and we expected state-of-the-art knowledge from him and all the other American advisers. We were not disappointed. Interrogation is about the mind first, the body second, he said. You don’t even have to leave a bruise or a mark on the body. Sounds counterintuitive, doesn’t it? But it’s true. We’ve spent millions to prove it in the lab. The principles are basic, but the application can be creative and tailored to the individual or to the imagination of the interrogator. Disorientation. Sensory deprivation. Self-punishment. These principles have been scientifically demonstrated by the best scientists in the world, American scientists. We have shown that the human mind, subject to the right conditions, will break down faster than the human body. All this stuff—again he waved his hand in contempt at what we now saw as Gallic junk, the tools of old world barbarians rather than new world scientists, of medieval torture rather than modern interrogation—it will take months to wear the subject down with these things. But put a sack on the subject’s head, wrap his hands in balls of gauze, plug his ears, and drop him in a completely dark cell by himself for a week, and you no longer have a human being capable of resistance. You have a puddle of water.
Water. Water, James Yoon said. Can I get some water, please?
I fetched him some water. Despite the water cure, he had not actually had any water except what was absorbed through the wet cloth, which was just wet enough, he said, to be suffocating. As his arms were still bound, I slowly trickled the water down his throat. Thanks, he muttered, just as any prisoner would be grateful to his torturer for the drop of water, or the morsel of food, or the minute of sleep that the torturer doled out. For once I was relieved to hear the Auteur’s voice, calling out, All right, let’s get this done so Jimmy can get back to the pool!
By the final take two hours later, James Yoon really was lachrymose with pain, his face bathed in sweat, mucus, vomit, and tears. It was a sight that I had seen before—the communist agent. But that was real, so real I had to stop thinking about her face. I focused on the fictional state of total degradation that the Auteur wanted for the next scene, which itself required several takes. In this scene, the last one of the movie for James Yoon, the Viet Cong, frustrated because of their inability to break their victim and get him to confess to h
is crimes, beat his brains out with a spade. Being a bit exhausted from torturing their victim, however, the quartet first decide to take a break smoking Pete Attucks’s Marlboros. Unfortunately for them, they underestimated the will of this Binh, who, like many of his southern brethren, whether they be freedom fighters or freedom fighters, was as laid-back as a California surfer regarding every matter except the question of independence from tyranny. Left alone without the towel around his head, he was free to bite off his own tongue and drown under a faucet of his own fake blood, a commercial product that cost thirty-five dollars a gallon and of which approximately two gallons were used to paint James Yoon and decorate the earth. When it came to Binh’s brains, though, Harry had concocted his own homemade cerebro-matter, a secret recipe of oatmeal mixed with agar, the result being a gray, clumpy, congealed mess that he lovingly daubed on the earth around James Yoon’s head. The cinematographer got especially close to capture the look in Binh’s eyes, which I could not see from where I was watching, but which I assumed to be some saintly mix of ecstatic pain and painful ecstasy. Despite all the punishment inscribed on him, he had never uttered a word, or at least an intelligible one.
CHAPTER 11
The longer I worked on the Movie, the more I was convinced that I was not only a technical consultant on an artistic project, but an infiltrator into a work of propaganda. A man such as the Auteur would have denied it, seeing his Movie purely as Art, but who was fooling whom? Movies were America’s way of softening up the rest of the world, Hollywood relentlessly assaulting the mental defenses of audiences with the hit, the smash, the spectacle, the blockbuster, and, yes, even the box office bomb. It mattered not what story these audiences watched. The point was that it was the American story they watched and loved, up until the day that they themselves might be bombed by the planes they had seen in American movies.