No one required Noujaim to trace the history of Al Jazeera or examine its standard content. Apparently, the double whammy of 9/11 and the Iraq War has so rattled modern moral conscience that American self-hatred is the new documentary mode. The lunacy was repeated stateside with local acclaim for Jehane Noujaim's specious Control Room. The orgy of self-congratulation at Cannes proved film culture has lost the imperative of humane understanding.
Moore's insensitivity-certain to the point of hostility that he alone is right-amounts to liberalism with a fascist face.
It's seven minutes of the most powerful man in the world suffering. Moore times Bush's visit with a digital counter but clearly we're not watching Bush wallow in playtime or indecision. His supposed "coup" of Bush visiting a Florida elementary school after being informed of the first World Trade tower hit turns out a dud. They become dupes for the sarcastic invective Moore offers in place of argument. This is not historical context it's a harangue.īut in the Tarantino era, film folk seldom look at movies intelligently-or politically. As in Bowling for Columbine, he lines up unrelated points for a domino effect of dissatisfaction. Moore doesn't separate the election from the terrorists' attacks or from the war on Iraq. For Moore, guilt covers everything that stemmed from Bush's election and is only eased by blame. His exploitative title doesn't measure temperature it disgraces that sorrowful date just to inflame liberal guilt.
Moore himself is part of the punditocracy that, like unscrupulous politicians, solicits trite sentiment. To pretend that Fahrenheit 9/11 is a work of art is disingenuous. Now we're stuck in the middle of a global crisis for which neither he, nor Michael Moore, have an answer. QT made sadism hip and sent it 'round the world. It's not impossible that the torturers at Abu Ghraib-including even Saddam Hussein's own precedent-setting torturers-were inspired by the torture scene in Reservoir Dogs. American cinema in the Tarantino years has pandered to violence, racism, greed and self-satisfaction. Michael Moore mistakes image for message, panders, gloats.īefore Quentin Tarantino and his fellow Cannes jurors passed judgment on President Bush by awarding Michael Moore's Fahrenheit 9/11 the Palme d'Or (thus inflating the film's importance), they should have queried themselves: Have they done anything in their own films to tame the arrogance of a man, a moviegoer, like Bush? Not much in the careers of American jurors Tarantino, Kathleen Turner and Jerry Schatzberg encourages audiences to think or behave politically. There's probably a good point or two buried in here, but who can tell?
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