The propaganda of Fahrenheit 9-11...

(A review of the most fraudulent movie of 2004...)

Michael Moore, fraudulent film-maker extraordinaire, is at it again, filling the hearts and minds of emotionally impressionable American’s with blatant partisan attacks against the current administration and the intelligence us as a people.

The overweight, slovenly kept poster boy for the elite American Left has done it again, making millions playing on the fears and emotions of our uneducated American counterparts. In a word, Fahrenheit 9-11 is designed, just as was its predecessor Bowling for Columbine, to evoke hatred and distrust for pillars of the American Right and to evoke a sense of hatred and distrust toward the Bush Administration and the United States Military and intelligence community.

From the opening credits Moore sets the stage to blame the President, his administration, his family, and the valiant soldiers serving our country for everything from the attacks on September 11, 2001 to the loss of life in Operation Iraqi Freedom.

Moore begins the movie “exploring” the “fraudulent” election of President George W. Bush, who functions as Moore’s whipping boy throughout the film, replanting doubts in the minds of it’s viewers as to the legitimacy of his Presidency. He also shows the President, through a series of artistically rendered film clips and photographs, to be a bumbling idiot hick from Texas. A man who plays golf, trims brush and not much else. Moore “forgets” to include any facts regarding the Florida recount or mention why members of the House of Representatives were unable to secure Senate endorsement to recall his Presidential nomination.

Moore continuously condemns the Bush family’s oil interests, ties to the guiltless Bin Laden family and Saudi ruling class, and corporate business interests in the rebuilding of Iraq, insinuating guilt on the part of the Bush gang for not only 9-11 and the subsequent War in Iraq but the loss of the 600-plus soldier in the sands of the Middle East. He even goes so far as to compare the personalities of Bush and Bin Laden, both described as quiet and dull, and therefore draws some connection between the two.

September the 11^th is shown as the open door Bush was waiting for to open the gates of war on Iraq. He makes fun of the Presidents reaction to the attacks on New York and Washington, counting down the whole, seven minutes Bush sat with school-children in stunned silence before taking action. Seven minutes, what an eternity!

The condescension with which Moore goes about structuring this film should be offensive to any proud American in the theater. He apparently thinks so little of the intelligence capabilities of the common movie-going American that he tries to get away with deceiving us with his creative filmography and judicial editing. Apparently, in his mind, Saddam Hussein was no problem to the American (or his own) people. He states outright that Hussein and his administration never cost any American their lives, a blatant falsity when you consider the loss of American life during the first Gulf War, his protection of one Abu Nidal, one Mr. Yasin of 1993 WTC attack fame, and the attempt on President George H.W. Bush’s life. He also fails to mention the facts that Saddam and his thugs were the only regime in the area to openly celebrate the loss of life on 9-11 and call for the bloodshed to continue and one that needlessly gassed thousands of Kurds in the 1990’s.

Moore continues with images of happy, playing Iraqi children and citizens, frolicking among the pleasant streets of Baghdad, when BOOM, the bombs begin to fall. Any idea where? That’s right, strategic military targets, essential to the war against Saddam and his Brutality. Civilian casualties, the mournful losses that take place during any conflict, are mourned while the bodies of burnt and mutilated Americans are shown as nothing more than a leftover of American imperialism and smug arrogance on the part of the administration and soldiers themselves.

He also “forgets” to mention the voting records of the Democratic members of congress in relation to the War in Iraq, the statements from leading liberals about the threat they believed Hussein to be or the lack of action on the part former President Clinton in regards to the capture of Bin Laden.

Moore also chose to only show pictures of the onlookers on September 11^th, not one victim. After all, God forbid we actually feel sorry for our brothers and sisters lost that day. Instead we’re asked to feel sorrier for Iraq and its people. Yet not once does Moore document the terrible atrocities we freed then from, suffered under Hussein’s regime, rape rooms, genocide and torture that would make Abu Graib look like a trip to Sunday school.

The untold wealth Mr. Moore will amass thanks to this movie and the thousands of suckers who are guilted into believing his lies are immense. The first day alone the movie garnered $8 million, $49,000 in New York City Alone. Do you think any of this money will go to the families of the soldiers killed in Iraq or to a relief fund for misplaced Iraqi children? No, it will end up right where the millions garnered from Roger & Me and Bowling for Columbine went, right into Moore’s swanky New York apartment and to fund his daughter’s private education, but certainly not his wardrobe.

According to Michael, the ones really prospering off the bloodshed in Iraq and around the world are the politicians and corporate leaders across America, so much so that he went to the Capitol to ask Congress-people to sign their own children up to serve in the military. Well, it seems to me, Mr. Moore, that you too are profiting off these atrocities and the death in this country and in the Middle East, how about signing your own daughter up? No? Didn’t think so.

We do have the freedom to speak our minds here in America, thanks to the First Amendment, and Mr. Moore is no different. Fahrenheit 9-11 is his idea and take on the happenings of that last 4 years and he is entitled to share those with the American people. However, one must remain extremely vigilant when it comes to taking Mr. Moore at his words and guard against the emotional rollercoaster ride he throws at his audiences.

According to your humble correspondent and the Rules of the Academy Awards, a “documentary” must be complete non-fiction and truthful in its delivery, Fahrenheit 9-11 is anything but. It instead rest on nothing more that Mr. Moore’s partisan hatred of the current administration and their choices, cloaked in a smarmy reverence for lives lost and interest in seeing wrongs righted. As with any Moore film since Roger and Me, Big Mike includes just enough of the “facts” to evoke emotion and anger, the rest he liberally edits or voices over with his own smug condescension.

Hey all you folks over in Cannes, were we watching the same movie? You might want to ask for your Golden Palm back.