Director:
Michael Moore
Starring:
Michael Moore
George W. Bush
Release: 23 Jun. 04
IMDb
|
Fahrenheit 9/11
BY: DAVID PERRY
In an attempt for full disclosure, since Fahrenheit 9/11 seems to
only bring out the worst in partisans who want to paint it as a divisive
work that panders to only one mindset, I will admit that I opposed
Gulf War II from the beginning. Having supported military action in
Afghanistan, though bothered by some strategic decisions, I’m not a dove,
but I fully comprehended the implications of the administration’s refusal to
continue with United Nations weapons inspections (after having been
pressured into them) and prepared for what I knew would be a long three
years. From the moment Bush’s unilateralism (a “coalition” of nations mostly
intent on continuing foreign aid from the U.S. does not give credence to the
idea of multilateralism) made way into Iraq, I began my political activism
against the president I had voted for in 2000 (with reservations that I now
regret not following). I consider this such an egregious misuse of power,
taking the nation backwards from decades of international growth since
Vietnam, that I decided I would not support any politicians who voted for
the war. Needless to say, my conservative economic beliefs (the sole reason
for my Bush vote four years ago) and the aggravation I had over the war made
me the quintessential party-switching Howard Dean supporter.
I don’t normally let myself get this personal in a review, but I fear that
not doing so would open me up to criticism of being a liberal extremist
intent on espousing Michael Moore’s Holy Scripture. On the contrary, I don’t
particularly like the man -- just glance at my review of Bowling for
Columbine. But we agree in our disdain for the war, though for completely
different reasons: as he grasps for anything to downplay the reasons for
war, my opposition is grounded in my derision for the administration’s
unwillingness to take any diplomatic path possible -- including finishing
the weapons inspections -- before preparing to put American soldiers on the
line. Our form of protest do meet in one way, Moore and I see this as the
molestation of the American military, putting the servicemen and
-women in danger without taking precautions that might have saved 900
American lives.
My main problem with Moore has always been his blowhard persona caped by a
sanctimonious façade. The exploitive way he dealt with Bowling for
Columbine, a film that makes great points but is unable to fully commit to
them out of acquiescence for the self-serving poseur behind the camera
(though, more often than not, in front of the camera so he can show the
viewers just how much he cares), was disappointing for me. I wanted a
pointed, fully realized retort to my feelings on gun control. Instead, I
only felt that there was some guy trying to hock his books and movies that
certainly felt emotional about the subject but didn’t know how to convey it
without being unnecessarily false.
But that’s not the case with Fahrenheit 9/11 because Moore seems more secure
with what he means to say than before. Built largely on pointed interviews
(I hereby ask the Academy to consider John Conyers for Best Supporting Actor
this year) and found footage, the first half of the film is mostly
conspiracy theory. I don’t believe half of what he says, myself long demystified by
the Parallax-like enigma connected to Bush et al. However, I do appreciate
the view he gives. No matter how many holes I may consider these theories to
have, I accept them as an interesting view into the minds of some within the
anti-war movement (believe me, we are far from uniform). It’s the same
reason that I pay attention to Anne Coulter, Bill O’Reilly, and Randi
Rhodes: we’ve got to keep up with the crazies before they start to make
sense.
My deep, emotional connection of Fahrenheit 9/11 isn’t built in this first
half, where I’m more entertained by his contortions as well as the pointed
but innocuous findings. Where I become passionate about this film is in the
second half, where Moore documents the product of the war: the Iraqi
collateral damage, the disillusioned world impression of the U.S., and the
harming of the American youth fighting there. Some have said he’s overly
critical of the troops, but Moore is not trying to demonize the soldiers but
instead comment on what this war has done to them. Whether it’s mental or
physical damage, the price of war has been their burden.
The centerpiece of this section is a series of interviews with Lila Lipscomb, a Flint,
Michigan, mother who lost her son in Iraq. Even when Moore uses her at the
worst moment, not understanding the proper time to stop filming, the
implications of the proceeding moments (as a woman castigates her for
weeping over her dead son, saying that the whole filmed ordeal must be fake)
have an impact that deals a greater blow to the Bush war and those who
support it than any of the Oliver Stone posturing of the first half.
I don’t consider Fahrenheit 9/11 to be a perfect film, but it has an impact
for this viewer that cannot be underestimated. I’ve seen it twice in two
different (admittedly liberal) cities, and I was intrigued by the
reactions. Where New Yorkers applaud with every condemnation of the Bush
administration, the Bostonians are almost completely quiet except for the
occasional sniffles. They share a similar response: the command of the work
is immeasurable for an audience willing to accept it as a barometer of the
flaws of the administration’s actions in Iraq. Audiences who believe fully
that the human cost of the war is acceptable for the headway GWII has made
in creating a safer world, won’t likely accept Moore’s arguments because
minds have been made up. Perhaps Moore is speaking to the pulpit, but the
pulpit is mighty enthusiastic.
Moore begins his film with the dream of a different November 2000, where Al
Gore celebrates his Florida victory and his impending presidency. It’s that
same kind of fantasy that takes over me as I think about the state we now
inhabit. In 1973, after being sworn into office following the resignation of
Richard Nixon, Gerald Ford said “My fellow Americans, our long national
nightmare is over.” I dream that John Kerry has similar words for the nation
upon inauguration, and I deeply
hope that Fahrenheit 9/11, flaws and all, will bring that speech one step
closer to reality.
|