Taxi to the Dark Side, a documentary about an innocent Afghan taxi driver tortured to death by U.S. officials at Bagram Air Base, has received wide critical acclaim since its debut in April at the Tribeca Film Festival. The New York Times’s A.O. Scott said, “If recent American history is ever going to be discussed with the necessary clarity and ethical rigor, this film will be essential.”

Randy Scheunemann, McCain's top national security adviser, said McCain was concerned about the Senate legislation's requirement that the CIA abide by Army rules. "It's not a vote for torture," Scheunemann said. "This wasn't a vote on waterboarding. This was a vote on applying the standards of the field manual to CIA personnel."

The Army manual specifically bars waterboarding and seven other tactics: forcing a detainee to be naked, perform sexual acts or pose sexually; placing hoods or sacks over the head of a detainee; beatings, electric shock, burns or other forms of physical pain; threatening detainees with dogs; the use of temperature extremes to cause physical trauma; mock executions; and depriving detainees of necessary food, water or medical care.

In 2002 taxi driver Dilawar was picked up by US forces with his passengers in the desert and taken to Bagram prison in Afghanistan. Five days later he was dead. Injuries to his legs were compared with those he would have sustained if he had been run over by a truck – had he lived it was likely that his legs would have had to have been amputated due to the damage. With this as the starting point, this documentary tells the story of the role of "torture" in the war on terror, from Abu Ghraid to Guantanamo.

Having put Gibney's documentary on Enron as one of my ten favourite films of 2005, I eagerly took up the opportunity the UK (and much of Europe) had to catch this on television ahead of the full release in the US in 2008. Shown as part of the BBC's excellent "Why Democracy" series of films, this one opened with the caption question "can terrorism destroy democracy?". To the casual listener the question appears to be about the ability of terrorists to bring down what we see as Government (ie by crashing planes into it) but really the question in regards this film appears to be more about whether our idea of freedom and democracy can survive the way we fight terrorism. As a result this film is about the use of "torture" against terrorist suspects, specifically focusing on the United States...

...What the film does from then on in is paint a picture of lack of respect for humanity, lack of respect for international laws, lack of accountability and lack of transparency. The film plays a clip of Rumsfeld speaking on the (then) allegations of mistreatment and says that it will be looked into so that "the world will see how a free system, a democratic system, functions and operates"; well he was right – and it is not pretty viewing. As with Enron, Gibney does betray his politics and the film has very little in the way of even handedness about the debate. This is a little disappointing in regards the debate but the overwhelming nature of the presentation of arrogance and carelessness did make wonder how you would balance these issues – certainly the quotes I have heard down the years from politicians have not been able to convince. Certainly a clip of Bush talking about "suspected terrorists" who have died, or as he says "put it this way – they're no longer a problem to the United States"; the fact that he acknowledges they are "suspects" rather than convicts but yet sees their death as a good thing says it all.

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In 1993 the Discovery Channel contracted a British documentary team to investigate the story, Yorkshire Television spent 10 months in Nebraska interviewing witnesses and reviewing taped testimonies. The documentary, Conspiracy of Silence, was slated for air in 1994 and was listed in the TV Guide, but it was never shown. It is said that influential and connected people put pressure on the cable industry, fully reimbursing the production company and the Discovery Channel and that all copies were destroyed. Luckily, an unfinished version later turned up on John DeCamp´s doorstep.

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