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Some folks thought that the pesky
Oscar-winning Michael Moore stepped out of bounds by chastising American
President George W. Bush and his administration regarding the questionable
policies behind the war in Iraq during the worldwide March 23, 2003
televised broadcast of the 75th Annual Academy Awards. Well, these same
detractors better brace themselves because they haven’t seen anything yet.
Filmmaker Moore finds the absolute forum to continue his inquiry into the
Bush mindset and all the alleged misguided “hushed up details” concerning
the U.S.-led coalition conflict in the Middle East courtesy of his new
documentary Fahrenheit 9/11. Dubya and his conservative cohorts better
beware because Moore has a bigger flashlight to work with and will
certainly shine some light in dark corners he believes the world is
entitled to experience.
Invariably, Fahrenheit 9/11 has to be the most anticipated political film
to hit the big screen since the ruckus created by Oliver Stone’s much
maligned but intriguing conspiracy concoction JFK. In any event, Moore
serves up a dandy dish of suspicion that may prove to be a partisan punch
to the Oval Office, particularly as the presidential election year of 2004
is off and running its usual heated course. Say what you will about
Moore’s relentless need to hold Bush and his handlers’ feet over the hot
grill but you have to admit that the Flint, Michigan moviemaker is
persistent in his bid to actively expose the “fictitious figurehead” and
his questionable administrative practices at 1600 Pennsylvania Avenue.
Moore’s signature cinematic sabotage is something that has garnered mixed
results during the course of his moviemaking career. Moviegoers will
recall Moore’s gutsy on-the-spot interrogation tactics that was shrewdly
featured in the devilishly enjoyable Roger & Me. And of course who can
dismiss his Academy Award-winning Bowling for Columbine that captured
imagination of America’s love/hate affair with guns and violence. But now
with Fahrenheit 9/11 Moore is able to make a mockery about of the mockery
that exists with a documentary that’s gleefully exploitative, inquisitive,
sharply witty, passionate, and thought-provoking. The purpose really isn’t
to take sides per se in this showy and off-kilter examination that pits
the opinionated Moore against Republican incumbent George W. and his
congressional cronies, at least that’s not the sole intent that drives
this nimble narrative anyway. Fahrenheit 9/11 will certainly crumble some
cookies with its sensational rhetoric as it methodically pokes fun at what
it perceives to be the elusive truth.
One might dismiss Moore’s style of filmmaking as a one-pony stunt because
of the way he manipulates the camera in his wry attempt to flesh out his
subject matter. Fahrenheit 9/11 has the typical Moore-esque
characteristics that make his penetrating projects seem like a festive
event-in-the-making: cavalier cameos by colorful observers, rapid montage
sequences, deer-in-the-headlight reactions from reluctant participants,
probing and confrontational set-ups, vividly raw footage, etc. Whatever
makes Moore’s vehicles a hindrance to some and a breath of fresh air to
others, it’s refreshing to see that an artist such as his magnitude is
willing to be subversive enough to put his convictions on the line in the
name of his given craft. There’s nothing courageous that Moore doesn’t do
here that a lot of the masses haven’t already thought of before—that the
current administration’s vague reasoning for sanctioning the invasion of
Iraq is indeed flimsy and unfathomable. Consequently, Moore simply has the
comprehensive resources to express his disdain more publicly than the
average harsh critic vehemently denouncing the Bush bandwagon and its
rigorous stance against a hostile Iraqi resistance.
According to Moore, the White House brass hasn’t been too forthcoming in
its “behind-the-scenes” double-dealing that has continually impacted an
unknowing and unsuspecting American public. This sentiment of discontent
with the Bush administration has a four-year blueprint that Moore
meticulously combs over with a cynical brush as he strokes every fine hair
that is seemingly out of place. The showcase doesn’t waste any time
revisiting the “sham” that was the Bush presidential victory of 2000
(a.k.a. the infamous Florida-gate episode featuring the questionable
voting chad mix-up). The wishful thinking election of challenger Al Gore
definitely is a stinging shot at Bush’s expense. Of course this little dig
is to remind us of the incidental way in which Bush “conned” his way into
securing the title of Commander-in-chief by virtue of the chaotic
circumstances that surrounded the circus act known as the 2000
presidential elections.
Moore distinctly has perverse fun presenting the ultimate contention…that
Bush authored an immoral war in Iraq while tricking the world to believe
it was justified in his selfish estimation. It is this high-caliber
muckraking that has brought high praise (along with the prestigious Palme
D’Or) and considerable flack to Moore’s vigorous celluloid assault.
Curiously, Moore reaches into his grab bag of surprises and flashes around
some very interesting figures, factoids and footage to give credence to
his claim that Bush has calculated a regrettable war without proper
provocation. While Moore has the uncanny ability to conveniently pull
these accusations against Bush and make them the whipping arsenal against
the beleaguered president, it isn’t quite clear as to where the
documentary denizen arrived at his statistical findings. However true or
false Moore’s assertions may be against Bush, it is nevertheless amusing
and alarming to be fascinated by the case that is presented before our
very eyes.
When Fahrenheit 9/11 turns its focus on the World Trade Center terrorist
attacks, Moore creates an eerie and surreal mood when he decides to
blacken the screen. Hence, the observer is only treated to the deafening
sounds of the wayward planes crashing into the buildings thus establishing
what amounts to be the darkest day in recent American history. It is upon
this build-up of tension that Moore decides to instill some audacious
information that suggests Bush and his family had on-going
business-related connections with the Saudi royal and most importantly,
the bin Ladens. Dutifully, he backs up this scenario by referring to top
secret documents with blacked-out names and makes occasional references to
Bush’s mysterious military service in the Texas Air National Guard.
There are so many targeted sources that Moore goes after in his quest to
curtail the jingoism that resonates in a George Bush post-9/11 America.
Unabashedly, the undaunted movieman lets his disillusionment be known
about the elitist Bush and doesn’t apologize for his sanctimonious
microscope that threatens to take a closer look at the so-called
fraudulent frenzy surrounding the atrocities that are today’s
Iraqi-dominated headlines. Moore and his film-going followers will stick
to their guns and insist that the hoodwink happenings of the Bush
right-wing agenda is alive and percolating ferociously. With impartiality
being set aside, it is a riveting argument to observe that both pro and
con factions that side with Moore or Bush are apt to get a jolt out of
this acerbic sideshow that dangles the proverbial carrot in front of our
astonished faces.
Bush may get the one-sided treatment of resentment that prods along
incessantly but Moore doesn’t exactly come off as faultless either. In
fact, Moore can be shameless when promoting a witch hunt-like atmosphere
that caters to his self-involving perspectives. Any impromptu interview
that hints how ineffective or indifferent Bush is to the common people is
emphasized by an eager and pleasing Moore willing to use these instances
as another opportunistic blow against the 43rd president of the United
States. Whether playing into the disagreeable hands of an Oregon state
trooper not thrilled with Dubya’s duties in protecting the country or
talking with a patriotic-turned-sour note Michigan mother that holds Bush
responsible for her son’s periled exploits in Iraq, Moore plays this
frothy fodder to the hilt. To a certain extent, Moore is waving a product
just as manipulatively as the one Bush is pushing through his gung-ho
stint in the White House.
One cannot help but laugh at the selective situational themes that Moore
chooses to pounce over with reckless abandonment. To Moore’s defense, he
does make some valid points with some of the mentioned tidbits. For
instance, what about the poor kids (financial and otherwise) that are
given the option to protect the golden interests of privileged Americans
while these same Americans with advantages shield their precious offspring
from enlisting in the service to see what it’s like in war torn Iraq? On
cue, Moore marches right to Washington D.C. to see how these policy-makers
would feel if their flesh and blood’s lives were on the line when fighting
for this same military cause. Other revelations play into the
condescending filmmaker’s hands giving his material of the offbeat
flourishes that spout indignation. One moment we introduced to a verbose
guy speaking his mind too much that he warrants a visit from the FBI. The
next moment we are bombarded by humorous snippets of Attorney General John
Ashcroft crooning away to a feel good tune that defines the American
sentimentality. And although unfair to use within this context, Moore
shows President Bush entertaining a Florida classroom of children with his
reading of “My Pet Goat” on 9/11 while the terrorist attacks are occurring
up north.
The scrutiny of the Bush-Cheney ticket and their supposed oil-craving mode
risks in becoming a repetitive rant that may have some people tire quickly
of Moore’s constant show-stopping tirades. But that’s why Fahrenheit 9/11
is so potent in its ribaldry because the contempt for Bush and his sense
of priorities is what sparks an individual such as Moore to rise up and
ruffle the feathers of the powers-that-be. In a country where everyday
souls look to hold on to a job with meager pay (providing that they’re
lucky enough to be working in the first place), Moore is aghast.
Specifically, his disenchantment at the opportunistic golden spoon fed big
wigs—Republican or Democrat—that have the nerve to prosper in a propaganda
war that benefits them financially, is genuinely heartfelt. It’s when the
majority of the country that pays the costly toll for the flag-waving
brainwashing going on that Moore is forced to put his foot down and go
against the grain.
Whose to say that Moore hasn’t played around with the validity of his
Bush-wacked inquiries? Even if he resorted to the political motivating
shenanigans that finds him just as ruthless and rustic concerning his take
on a George W. Bush puppet-controlled presidency, that’s fine because
Moore has the cache and cunning aptitude for fending off those that dare
to question the method of his madness. Besides, the inevitable reaction of
Bush-flavored pundits will no doubt take to task Moore’s controversial
on-screen allegations and shred it to bits more so than they would a
proposal to back a change in welfare reform.
While Fahrenheit 9/11 is not an impeccable or flawless documentary by any
stretch of imagination, it is certainly fearless and festive in its snide
and snappy search for the inexcusable ignorance that Moore perceives is
the flavor of choice for the Bush camp. Whether considered a bothersome
bleeding heart or unpatriotic pest, the durable Michael Moore is one
provocateur that goes for the jugular vein with the right mixture of
pomposity and self-assurance. |
