SF Chronicle: Persuasive and passionate. 'Fahrenheit 9/11' is both. It's also Michael Moore's best film.
From: Psalm 110 (Melchizedek_at_USA.com)
Date: 06/25/04
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Date: 24 Jun 2004 18:17:07 -0700
Republicans crap their pants in fear -- try censorship, try threats to
theaters. Sore LOSERS....
http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2004/06/24/FAHRENHEIT.TMP&type=movies
Persuasive and passionate. 'Fahrenheit 9/11' is both. It's also
Michael Moore's best film.
Mick LaSalle, Chronicle Movie Critic
Thursday, June 24, 2004
The big moment in Michael Moore's "Fahrenheit 9/11" comes midway
through the documentary, and there's no mistaking it: It's the morning
of Sept. 11, 2001, and the president of the United States is sitting
in a little chair in a Florida classroom. His chief of staff enters
and whispers in his ear that the country is under attack. And
President George W. Bush just sits there for seven long minutes.
In a forceful documentary devoted to puncturing the image of the
president as a take-charge leader, this will be, for many, the tipping
point. At the very least, it will be the scene that everyone talks
about. Moore doesn't show the whole seven minutes. Instead he lingers
on the scene just long enough for the audience to daydream of
Eisenhower, Reagan, Truman, Bush senior, Clinton, Nixon or Kennedy in
that situation, and to imagine any one of them standing immediately,
excusing himself and demanding to be put in touch with his national
security team.
Assessing the merits of a political film is a tricky business.
Obviously, its quality is partly a function of its power to persuade,
but its persuasiveness is in the eye of the beholder. Yet there are
other things to consider: The movie's passion. Its serious purpose.
Its tone. Its mix of words and images, and the way both linger in the
mind. There's the way the movie fashions its arguments, and the
cumulative effect the experience provides -- what you feel walking
out, what you think about the next day. By all these measures,
"Fahrenheit 9/11" is Michael Moore's best film.
Certainly, it's a career landmark, the film that signals his
transition from political entertainer to political thinker, from
propagandist to idiosyncratic journalist, from colorful gadfly to
patriot. If "Bowling for Columbine" was a step, this is a leap, in
which Moore vaults past Will Rogers into some territory all his own.
In the 90-year history of the American feature film, there has never
been a popular election-year documentary like this one.
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