Since military history is a
frequently-visited genre in my own arena of study and research as well as one
which has touched my own life in a personal and indelible way, it may not be
surprising that I have long had an interest in what – for want of a better
label – I call the ethics of warfare.
It may seem like an oxymoron, but in virtually every conflict in our nation’s
history one can find both obvious and not so clearly-defined examples of
decisions, policies and protocols in which a course of action reflects a point
of morality inconsistent with ordinary military objectives. A WWII example was
the USAAF commitment to “daylight precision bombing” of industrial/military
targets as opposed to the RAF preference for nighttime “carpet bombing” of
civilian population centers; a decision which cost the U.S. mightily in lives
and aircraft lost. The ultimate decision to use the atomic bomb to shorten (and
save lives) in bringing Japan to a surrender was perhaps the greatest moral
decision of all time and one still being argued today.
A recent motion picture titled “EYE
IN THE SKY” calls to mind some of the realities facing the use of military
“Drone” aircraft today, both from the viewpoint of target selection, and the
effect on flight crew members. The story revolves around a British mission
against an Al-Shabaab target in Nairobi, Kenya and an operational crew made up
of US Air Force personnel in Nevada. Target selection and mission operational
control are in the hands of British
Colonel Katherine Powell, played beautifully by Helen Mirren who appears
against the backdrop of a British Lt. General and a high-ranking Foreign
Secretary among others meeting in Sussex on the other side of the Atlantic.
Meanwhile the movie-goer is watching
through the eyes of a drone aircraft circling “invisibly” at 25,000 feet what’s
going on in the village square at the center of which militants are assembling
suicide-bomb vests for immediate dispersal in the room of a ruined building. It
seems as though the moment is right and conditions perfect for the armed drone
to deliver its two Hellfire missiles. Then we see an adorable little local girl
setting up a table to sell her mother’s bread within the “kill zone”.
At Creech AFB in the Nevada dessert,
an American pilot and the female enlisted Airman operating aiming and firing
controls sit at a space-age module in a windowless room awaiting orders to
execute, while nearby senior Air Force officers are shaking their heads at
British “dithering”, intimating to movie-goers that were this a U.S. operation
such a collateral complication would not be such a big deal. (The film is after
all a British production.) As the charming girl leaves her table, but then
returns with a new basket of bread, the decision-makers begin an endless
process of “referring up”; that is going up their chain of command all the way
through a line of “waffling” politicians to the U.S. Secretary of State who is
attending a ping pong tournament in China played by the late Alan Rrickman, to
whom by the way, the film is dedicated.
At virtually the last minute before
the suicide vests are sent on their way the missile strike takes out the target
and cameras focus on the dying girl and the resulting sadness on the faces of
participants in Africa, Britain and Nevada.
What theatre audiences will not know
is the toll taken on the Air Force crews serving at the Creech facility just
one hour away from the bright lights and fun palaces of Las Vegas, who have the
unheralded but high-pressure job of “flying” drones and firing missiles
half-a-world away for 18-hour- long days with little rest, where they need a
thousand more pilots and airmen than they can recruit for a duty with little
glory and the prospect of life-long memories of collateral consequences.