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--- Begin Message --- -Caveat Lector-there are detractors on both sides of the political spectrum to this film. On one side of the political spectrum (without labeling either side), many feel it doesn't go far enough and omits too much. My response is, well, if it went further and showed more of the central issues to this subject, then people really would not get to see it. It would never have made it to mainstream America. On that other side of the political spectrum they feel it shows and says way too much. My reply: well just about every other piece of Hollywood, Burbank schlock and radio/TV pundits and glossy in-our-face rags have been pro Bush, reporting every administration lie as if it was the God's honest truth and insidiously brainwashing the population further out along the rightwing, as well as into heavier and heavier consumption. Like I said, it's not even as if you've been supersized back. But that doesn't negate the blatantly true facts thruout this film. There's just even more to be told. This has been left up to the people and we got all summer and fall too.wuji wrote:Good news from the USA -- reaction to the M M film:
"The theater was packed, and the filmed received an uninterrupted 5-minute
standiing ovation at its conclusion. What a phenomenal piece of work--Michael
Moore is a genius who might finally save this country from itself."--Alabama
"I even got my republican father a ticket to see the movie in Orange
County. Needless to say after he saw the movie he now plans to vote against
the Bush. He has voted Republican since Nixon."-- California
"I found myself in my car driving home, tears uncontrollably rolling down my
face. I am 40 years old, own two companies and teach part-time at a high
school. I have a post graduate degree and have been a fairly educated
liberal all my life. Tonight I saw nothing many things I already knew, yet
how you shared your thoughts and ideas will effect me for the rest of my
life. I am deeply saddened by all of this, but yet thankful for all that you
have done. So many American and Iraqi lives have been given, all in the name
of greed." -- California
"I was in a sold out theatre of mostly veterans and Senior citizens. The
theatre was so full theey had to have exceeded the fire code. The amount of
people standing through out the whole movie was roughly around a third of
the amount of people sitting. Including 70+ year old people. I have never
seen so many people share tears with eachother since 9/11. I am a 23 year
old male, who does not open up. I cried my eyes out during the whole
film."-- Florida"The show was amazing, moving, and often hard to watch. I cried so hard so
many times. Thank you for this film. But thank you also for giving us
something to rally behind. I haven't seen so many people looking so hopeful
in a long time. We all looked down at the long, long line, and we all
figured out the same thing at the same time: this will end. This horrible
lie we have been delivered in this administration, this plague -- it will go
away, because in Ames, Iowa, in tiny little Ames, Iowa, a show about how
wrong our country has gone packedd the house. Twice in one night. And think
of all the people we will tell, and how many will go see it after tonight.
-- Iowa"I sat in a packed theater that was packed with wealthy people from all over
the eastside of Rochester, NY. This rich, conservative, white audience broke
into applause several times during the screening. Thunderous applause rose
up at the end. I WAS AMAZED. We walked out, quietly, but excited about what
to do next. We were greeted by lines of people crushing in to see the next
show. Something wonderful in happening here."-- New York StateFinally, from a Canadian: "I can only hope this movie will encourage
Canadian voters NOT to vote for Stephen Harper, the right-wing conservative
who wants to take our country closer to the Bushes of the world. We have too
much to lose to let that happen." --Montreal----------------------------------------------------------------------------
--------------------------------------------Review by Roger Ebert, Chicago Sun Times, June 24/04"Michael Moore's "Fahrenheit 9/11" is less an expose of George W. Bush than
a dramatization of what Moore sees as a failed and dangerous presidency. The
charges in the film will not come as news to those who pay attention to
politics, but Moore illustrates them with dramatic images and a relentless
commentary track that essentially concludes Bush is incompetent, dishonest,
failing in the war on terrorism, and has bad taste in friends.Although Moore's narration ranges from outrage to sarcasm, the most
devastating passage in the film speaks for itself. That's when Bush, who was
reading My Pet Goat to a classroom of Florida children, is notified of the
second attack on the World Trade Center, and yet lingers with the kids for
almost seven minutes before finally leaving the room. His inexplicable
paralysis wasn't underlined in news reports at the time, and only Moore
thought to contact the teacher in that schoolroom -- who, as it turned out,
had made her own video of the visit. The _expression on Bush's face as he
sits there is odd inndeed.Bush, here and elsewhere in the film, is characterized as a man who owes a
lot to his friends, including those who helped bail him out of business
ventures. Moore places particular emphasis on what he sees as a long-term
friendship between the Bush family (including both presidents) and powerful
Saudi Arabians. More than $1.4 billion in Saudi money has flowed into the
coffers of Bush family enterprises, he says, and after 9/11 the White House
helped expedite flights out of the country carrying, among others, members
of the bin Laden family (which disowns its most famous member).Moore examines the military records released by Bush to explain his
disappearance from the Texas Air National Guard, and finds that the name of
another pilot has been blacked out. This pilot, he learns, was Bush's close
friend James R. Bath, who became Texas money manager for the billionaire bin
Ladens. Another indication of the closeness of the Bushes and the Saudis:
The law firm of James Baker, the secretary of State for Bush's father, was
hired by the Saudis to defend them against a suit by a group of 9/11 victims
and survivors, who charged that the Saudis had financed al-Qaida.To Moore, this is more evidence that Bush has an unhealthy relationship with
the Saudis, and that it may have influenced his decision to go to war
against Iraq at least partially on their behalf. The war itself Moore
considers unjustified (no WMDs, no Hussein-bin Laden link), and he talks
with American soldiers, including amputees, who complain bitterly about
Bush's proposed cuts of military salaries at the same time he was sending
them into a war that they (at least, the ones Moore spoke to) hated.Moore also shows American military personnel who are apparently enjoying the
war; he has footage of soldiers who use torture techniques not in a prison
but in the field, where they hood an Iraqi prisoner, call him "Ali Baba" and
pose for videos while touching his genitals.Moore brings a fresh impact to familiar material by the way he marshals his
images. We are all familiar with the controversy over the 2000 election,
which was settled by the U.S. Supreme Court. What I hadn't seen before was
footage of the ratification of Bush's election by the U.S. Congress. An
election can be debated at the request of one senator and one
representative; 10 representatives rise to challenge it, but not a single
senator. As Moore shows the challengers, one after another, we cannot help
noting that they are eight black women, one Asian woman and one black man.
They are all gaveled into silence by the chairman of the joint congressional
session -- Vice President Al Gore. The urgency and futility of the scene
reawakens old feelings for those who believe Bush is an illlegitimate
president."Fahrenheit 9/11" opens on a note not unlike Moore's earlier films, such as
"Roger & Me" and "Bowling for Columbine." Moore, as narrator, brings humor
and sarcasm to his comments, and occasionally appears onscreen in a gadfly
role. It's vintage Moore, for example, when he brings along an unsuspecting
Marine recruiter as he confronts congressmen, urging them to have their
children enlist in the service. And he makes good use of candid footage,
including an eerie video showing Bush practicing facial expressions before
going live with his address to the nation about 9/11.Apparently Bush and other members of his administration don't know what
every TV reporter knows, that a satellite image can be live before they get
the cue to start talking. That accounts for the quease-inducing footage of
Deputy Defense Secretary Paul Wolfowitz wetting his pocket comb in his mouth
before slicking back his hair. When that doesn't do it, he spits in his hand
and wipes it down. If his mother is alive, I hope for his sake she doesn't
see this film.Such scenes are typical of vintage Moore, catching his subjects off guard.
But his film grows steadily darker, and Moore largely disappears from it, as
he focuses on people such as Lila Lipscomb, from Moore's hometown of Flint,
Mich.; she reads a letter from her son, written days before he was killed in
Iraq. It urges his family to work for Bush's defeat."Fahrenheit 9/11" is a compelling, persuasive film, at odds with the White
House effort to present Bush as a strong leader. He comes across as a
shallow, inarticulate man, simplistic in speech and inauthentic in manner.
If the film is not quite as electrifying as Moore's "Bowling for Columbine,"
that may be because Moore has toned down his usual exuberance and was
sobered by attacks on the factual accuracy of elements of "Columbine";
playing with larger stakes, he is more cautious here, and we get an op-ed
piece, not a stand-up routine. But he remains one of the most valuable
figures on the political landscape, a populist rabble-rouser, humorous and
effective; the outrage and incredulity in his film are an exhilarating
response to Bush's determined repetition of the same stubborn sound bites. "
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Let us please be civil and as always, Caveat Lector. ======================================================================== Archives Available at:
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