2008 Woodie Awards
Please Michael, no Moore
Katie Meyer
Issue date: 11/10/04 Section: News
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Fahrenheit 9/11 is Michael Moore's newest and most controversial documentary to date. It reveals the horrifying alleged correlation between the Bin Laden Family and George W. Bush. The end result is a scathing diatribe of the current administration's actions after the tragic September 11th attacks. However, how honest and genuine are Moore's claims? How much is manipulated? These are questions with no clear answer. Conservatives claim it is an inaccurate portrayal, while liberal supporters support Moore's allegations. Unfortunately, unassuming, moderate American audiences are left with an inconsistent, blurred documentary.
Fahrenheit 9/11 is the most successful documentary in film history as it has grossed over one hundred and fifteen million dollars since it's June release. Michael Moore has proven he is no longer simply a filmmaker; he now stands for something much deeper in the realm of media. With each film he releases he continues to test the boundaries of ethics and audience's perceptions. Despite Michel Moore's talents as a powerful and effective filmmaker, he allows his own biased leftist views to influence his film negatively. The result is a film that is highly self-righteous and slanted.
From the opening scenes of Moore's film he adamantly criticizes President Bush accusing him of slanderous acts such as manipulation of documents, tyranny, and corrupt business ventures. Nevertheless, Moore does make many cheap and juvenile shots along with his legitimate arguments. Specifically, when he exploits a montage of discomfiting conservative politicians during their speech and make-up prep sessions. This is an amateur level of criticizing your subject, and with all of the other more powerful pieces of evidence Moore had in his documentary this was an arrogant condescending ploy.
Fahrenheit 9/11 also brings to the surface the lack of modern media ethics. Unfortunately, Moore displays deplorable ethics while being inhumanely self-righteous. Moore is making a film with the ambition to inform American audiences about the mediocrity of our current administration, but instead a majority of his film is a piece of propaganda for the non-existent leftist media. A documentary, he needs to remain objective and honest, Moore has the means to make a creditable film, but loses focus in his own outrageous views.
Fahrenheit 9/11 is the most successful documentary in film history as it has grossed over one hundred and fifteen million dollars since it's June release. Michael Moore has proven he is no longer simply a filmmaker; he now stands for something much deeper in the realm of media. With each film he releases he continues to test the boundaries of ethics and audience's perceptions. Despite Michel Moore's talents as a powerful and effective filmmaker, he allows his own biased leftist views to influence his film negatively. The result is a film that is highly self-righteous and slanted.
From the opening scenes of Moore's film he adamantly criticizes President Bush accusing him of slanderous acts such as manipulation of documents, tyranny, and corrupt business ventures. Nevertheless, Moore does make many cheap and juvenile shots along with his legitimate arguments. Specifically, when he exploits a montage of discomfiting conservative politicians during their speech and make-up prep sessions. This is an amateur level of criticizing your subject, and with all of the other more powerful pieces of evidence Moore had in his documentary this was an arrogant condescending ploy.
Fahrenheit 9/11 also brings to the surface the lack of modern media ethics. Unfortunately, Moore displays deplorable ethics while being inhumanely self-righteous. Moore is making a film with the ambition to inform American audiences about the mediocrity of our current administration, but instead a majority of his film is a piece of propaganda for the non-existent leftist media. A documentary, he needs to remain objective and honest, Moore has the means to make a creditable film, but loses focus in his own outrageous views.