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Editorial Reviews
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To anyone who truly understands what it means to be an American, Michael Moore's Fahrenheit 9/11 should be seen as a triumph of patriotic freedom. Rarely has the First Amendment been exercised with such fervor and forthrightness of purpose: After subjecting himself to charges of factual errors in his gun-lobby exposé Bowling for Columbine, Moore armed himself with a platoon of reputable fact-checkers, an abundance of indisputable film and video footage, and his own ironically comedic sense of righteous indignation, with the singular intention of toppling the war-ravaged administration of President George W. Bush. It's the Bush presidency that Moore, with his provocative array of facts and figures, blames for corporate corruption, senseless death, unnecessary war, and political favoritism toward Osama Bin Laden's family and Saudi oil partners following the terrorist attacks of September 11, 2001. Moore's incendiary film earned Palme d'Or honors at Cannes and a predictable legion of detractors, but do yourself a favor: Ignore those who condemn the film without seeing it, and let the facts speak for themselves. By honoring American soldiers and the victims of 9/11 while condemning Bush's rationale for war in Iraq, Fahrenheit 9/11 may actually succeed in turning the tides of history. --Jeff Shannon
From The New Yorker
Michael Moore's new documentary is an incendiary and viciously funny attack on the Bush Administration-a whirlwind of political charges, sinister implications, and derision-in which the President comes off as a betrayer and fool who has all the substance of a stuffed doll. Moore accuses Bush of handing part of America's sovereignty over to the Saudis; he implies that the President, after 9/11, was more effective at frightening the electorate than at pursuing the terrorists; he presents America as an oligarchy in which the wealthy control everything while luring the dispossessed to "volunteer" in endless wars. Saying that pieces of this are true, or partly true, or true when joined to counterclaims-isn't the Army mostly a boon for the working class?-doesn't settle the journalistic issue. The movie's more radical allegations, which arrive like a shower of poison darts, are impossible to sort out and evaluate, and Moore often joins facetious narration to highly edited clips in a way that recalls the agit-prop techniques of dictatorial regimes. The movie is sensational entertainment for those already convinced but may repel the uncommitted. There are a number of powerful sections, however, that are impossible to dismiss, particularly the story of Lila Lipscomb, a Flint, Michigan, mother who loses her son in the Iraq war and, giving way to unappeasable grief, makes a half-crazed pilgrimage to the White House. -David Denby
Copyright © 2006 The New Yorker
To anyone who truly understands what it means to be an American, Michael Moore's Fahrenheit 9/11 should be seen as a triumph of patriotic freedom. Rarely has the First Amendment been exercised with such fervor and forthrightness of purpose: After subjecting himself to charges of factual errors in his gun-lobby exposé Bowling for Columbine, Moore armed himself with a platoon of reputable fact-checkers, an abundance of indisputable film and video footage, and his own ironically comedic sense of righteous indignation, with the singular intention of toppling the war-ravaged administration of President George W. Bush. It's the Bush presidency that Moore, with his provocative array of facts and figures, blames for corporate corruption, senseless death, unnecessary war, and political favoritism toward Osama Bin Laden's family and Saudi oil partners following the terrorist attacks of September 11, 2001. Moore's incendiary film earned Palme d'Or honors at Cannes and a predictable legion of detractors, but do yourself a favor: Ignore those who condemn the film without seeing it, and let the facts speak for themselves. By honoring American soldiers and the victims of 9/11 while condemning Bush's rationale for war in Iraq, Fahrenheit 9/11 may actually succeed in turning the tides of history. --Jeff Shannon
From The New Yorker
Michael Moore's new documentary is an incendiary and viciously funny attack on the Bush Administration-a whirlwind of political charges, sinister implications, and derision-in which the President comes off as a betrayer and fool who has all the substance of a stuffed doll. Moore accuses Bush of handing part of America's sovereignty over to the Saudis; he implies that the President, after 9/11, was more effective at frightening the electorate than at pursuing the terrorists; he presents America as an oligarchy in which the wealthy control everything while luring the dispossessed to "volunteer" in endless wars. Saying that pieces of this are true, or partly true, or true when joined to counterclaims-isn't the Army mostly a boon for the working class?-doesn't settle the journalistic issue. The movie's more radical allegations, which arrive like a shower of poison darts, are impossible to sort out and evaluate, and Moore often joins facetious narration to highly edited clips in a way that recalls the agit-prop techniques of dictatorial regimes. The movie is sensational entertainment for those already convinced but may repel the uncommitted. There are a number of powerful sections, however, that are impossible to dismiss, particularly the story of Lila Lipscomb, a Flint, Michigan, mother who loses her son in the Iraq war and, giving way to unappeasable grief, makes a half-crazed pilgrimage to the White House. -David Denby
Copyright © 2006 The New Yorker